These photographs are not about the t-shirt per se. The messages are combinations of pictures and words that reveal much about the identity of the wearer. They tell who these people are and who they aren't, who they want to be and what they want us to know about them. They advertise their hopes, ideals, political views, and personal mantras.

Begun in 2009, "TEE" has taken Susan Barnett to cities and tourist spots throughout the United States and Europe to record the ever-changing messages.

At the age of 22, John Chillingworth was the youngest member of the 'star' team of photographic journalists on the magazine. He worked alongside many other great photographers including Bert Hardy, Kurt Hutton, Felix Man, Bill Brandt, Thurston Hopkins, Grace Robertson, and Leonard McCombe. Editorially the magazine was liberal, anti-Fascist and populist. It covered everything from politics, through to sport, fashion, music, theatre and film, as well as picture stories of everyday life both in the UK and abroad. Chillingworth stayed with Picture Post for seven years producing a vast range of photo stories of a very high quality. Encouraged by the legendary picture magazine editor Tom Hopkinson, he learned to combine 'story-telling' images with the written word and worked with some of the finest magazine journalists of the age. Hopkinson, described Chillingworth as one of his great successes. Although John Chillingworth's images are still reproduced in publications around the world, this is his first monograph and features a wide range of photographs, primarily taken during his Picture Post years. The book is introduced by Matthew Butson, Vice President of Hulton Archive, whose vast experience of the Picture Post archive stretches back almost 30 years.

As a small boy, John Comino-James stood in school cap and Sunday suit to have his snapshot taken under flags put up for Queen Elizabeth's Coronation. The resultant photograph resonates with an England long since disappeared, yet still fertile in the imagination. That sense of how that England has changed is the focus in John Comino-James' new book as he explores our everyday landscape of sign and symbol, from roadside verge to traffic-free shopping centre, to high-rise cityscapes. Art is in action ahead, and with a friendly corporate Hello, we are offered No Deposit Deals on Half Price Dreams. We are thanked for shopping, and offered free cash withdrawals. A Money Shop is at hand and woodlands are for sale - just visit the website. If we drop litter CCTV may catch us, and we are warned that if we leave something valuable on show in our car we can expect it to be stolen. Reminders of the valour and necessity, the sacrifices, the folly and the tragedy of war are never far away. Earthquakes may strike, stores may close but we can still buy artisan ice-cream. But if opportunity is the moment you have been looking for, where is salvation to be found if not in moments of direct relationship with others?

Every year since 2001 no less than 150 sets of the decomposed or skeletal remains of people crossing into the US from Mexico have been discovered in remote areas of Arizona's Sonoran Desert. Pima County Forensic Science Center in Tucson deals with most of them, analyzing and storing their remains, archiving their possessions - and hopefully - determining their identities. In Left Behind, documentary photographer Jonathan Hollingsworth delivers a sobering look at those who do not survive the Arizona border crossing and the personal effects that they leave behind. The work takes the viewer on a journey through the day-to-day operations of the forensic science center, as well as into its archive of personal effects of the border crossers . Hollingsworth also travelled to Nogales (a key entry point across the border), and to Green Valley, Arizona where he discovered belongings left on the desert floor by migrants awaiting road-side pick-up in the dead of night. "It is a way of humanizing the immigration issue we face in the USA. It points to how desperate these individuals are to escape and start a new life. Essentially this book stands as a memorial to people who died alone, without ceremony and who are often still unknown."

Love and War chronicles Guillaume Simoneau's on-off relationship with Caroline Annandale. They first met at the Maine Photographic Workshop in 2000. Both in their early twenties, they began a feverish relationship and travelled the world together just prior to September 11, 2001. After the terrorist attacks on the United States, Annandale enlisted in the US army and was sent to Iraq. The two grew apart, Annandale eventually marrying someone else, but they reunited several years later upon her return from war to begin a tumultuous second chapter in their relationship. Using a variety of images, including pictures he took when they first met, photographs Caroline emailed home from Iraq, text messages, and handwritten notes, Simoneau charts the couple's love affair and its attendant ups and downs, but not in chronological order. Sequenced to mimic the disjointed nature of memory and identity, the project reveals how our perceptions of ourselves and our loved ones are always a blend of past and present. As the photographs progress, they expose Caroline's loss of innocence and her transformation into a toughened war veteran. Ultimately, Simoneau reveals the lasting impact - the invisible, indelible, and often irreversible effects that both love and war have on people's lives.

Nic Dunlop spent 20 years photographing Burma under military rule. His new book, Brave New Burma, is an intimate portrait in words and pictures of a country finally emerging from decades of dictatorship, isolation and fear. From the frontlines of the civil war to deceptively tranquil cities, from the home of democracy leader Aung San Suu Kyi to the lives of ordinary people struggling to survive, Brave New Burma is both an historic collection of rare images and a powerful expose of Burma's crisis. Change has come to Burma for the first time in decades. But change brings dangers, including the erasing of history and the invention of a new Burma in appearance alone. Brave New Burma is a haunting record of a country now struggling to recreate itself.

Liz Hingley, the daughter of two Anglican priests, grew up in Birmingham, one of the UK's most culturally diverse cities, where over 90 different nationalities now live. It is hardly surprising therefore that she developed an interest in multi-faith communities and began to explore the complex issues involved, ranging from immigration, through to secularism and religious revival. Between 2007-2009, Hingley focused on the three-mile stretch of Soho Road in Birmingham, one of the most varied and fascinating corners of the country. It is a junction of diverse faith, where Muslim, Hindu, Buddhist and Jain, Rastafarian, Christian and Sikh meet. Faith is exhibited in all the shops, shown off as symbols on hats and t-shirts, branded in tattoos,A" says Hingley. It is religion rather than race that now defines the local communities.A" With more than twenty different religions represented in a single road various buildings are used for religious purposes from churches in a school gym hall, to makeshift baptism tents in the local park. And with so many communities co-existing in such close proximity, the boundaries between faiths can, as Hingley has observed, become exaggerated. It was as if these religions were challenging each other,A" Hingley said challenging each other to show themselves off the most.A" Under Gods is a powerful celebration of the rich diversity of these religions and of the reality and intensity of their different lifestyles.

Gullberg combines images of women bearing scars on their bodies with those of the natural world - hinting at both a sense of inevitability and our unrealistic dreams of perfection. These women expose themselves, putting on display what our culture seeks to forget - the imperfect, the ugly and the embarrassing. And yet we need to be loved as we are. Unravelled is made in the hope that the viewer will come to love themselves a little bit more. The expressive qualities of Gullberg's work are both intimate and edgy. Her viewers are given a raw, yet poetic, look at life. She looks for beauty, strength and pride where you would not always expect to find it. Gullberg says "I deliberately put myself in situations that make me vulnerable. It makes me remember what it's like to have pictures taken of yourself. That again helps me uncover the traces that bind us together."

'The Automaton' is based on a story told to Paolo Ventura as a child. It centres on an elderly, Jewish watchmaker living in the Venice ghetto in 1943, one of the darkest periods of the Nazi occupation and the rule of the fascist regime in Italy. The city where the watchmaker has lived his entire life, now desolate and fearful, is the stage on which the story unfolds. The old man decides to build an automaton (a robot), to keep him company while he awaits the arrival of the fascist police who will deport the last of the remaining Jews from the ghetto. Paolo Ventura is internationally known for the complex creative process he adopts. Having created the narrative script for the book, he then builds elaborate models and miniature figurines in his studio and incorporates them in what appear as almost film sets. These are then photographed and his final artworks are the photographs of these constructed tableaux. 'The Automaton' is a photographic narrative from beginning to end.

How does it feel to leave the safety of home and not be able to return? How do you survive at subsistence level? What is life like for a child who is forced to flee from his home? What is it like to live in constant fear for your life and of losing those close to you? For almost seven years, photographer Espen Rasmussen has travelled the world to document refugees and displaced people. The book TRANSIT tells the stories of some of the 43.2 million people on the run in the world today. From the makeshift camps in DR Congo to the slums of Colombia, the book presents stories of everyday life and the challenges displaced people and refugees meet every day, no matter in which country or which continent they find themselves.

Eijkelboom's work is always about the relationship between the individual and the mass mass both in the sense of a lot of people, and of everything we encounter on a daily basis, and which we are part of. A world to which we must relate if we are to live in it."

Charlotte Cory's "Visitors" are truly creatures of fantasy and fascination - each so delicately posed that we think "can that be real?" A noble tiger in full military regalia, a dejected donkey slumped in a chair in a sparse studio setting, and a haughty kangaroo holding a cricket bat and gazing out at us dismissively. What kind of extraordinary creatures are these? Cory's images rework cartes de visite, the photographic visiting cards that were a Victorian craze. Many millions were produced and are now so commonly discarded in junk shops that they are almost worthless.Can there be anything more poignant than a person got up in their best bib and tucker, preserved for a posterity that is no longer interested? Yet there is something assuredly sadder than discarded photographs of forgotten faces and family pets: all those stuffed animals in museums, shot long ago not on glass plates but with guns, their very bodies preserved for posterity to gawk at. Where did this moth-eaten lion sniff his last antelope? How many of us have stood with our noses pressed to the glass eyeing these captured creatures? "The Visitors" is a remarkable book that draws us into an imagined world of immense power and originality.

'Brother|Sister' tells the story of Edvard and Bergit Bjelland who grew up with their parents and siblings on a small farm in a remote part of Norway on the south-west coast. The farmhouse itself dated back to 1800s and is now a listed building. Edvard was the fourth generation of his family to have owned the farm and had kept horses, cows, pigs, hens and over one hundred sheep. When Elin Hoyland first met him, his sister Berjit had recently died, most of the livestock had been sold off and the land rented out. He now lived alone looking after just a handful of sheep. Edvard had been the only one to stay on the homestead, though his sister Bergit eventually moved back into the farnhouse with him, after living several years in the city of Stavanger. In the late 1970s she moved out again, but this time to a new house that she had built just a stone's throw from her childhood home. Bergit died in 2011 and Edvard now looks after her house. This is a story of two very different lives, lived within a matter of yards of each other. Whilst the physical distance separating Edvard and Bergit may have been minimal, their emotional and lifestyle choices are so far apart. Through her photographs Hoyland explores these choices, the different dreams and needs that the brother and sister sought to fulfill, whilst award winning Norwegian novelist and poet, Gaute Heivoll provides a short fictional piece inspired by the images. The collaboration is both absorbing and moving.

'Authentic and fresh - the streets remain the preserve of those who live there - and when photographing the people he is among them, not sneaking a snap from across the street" - Photography Magazine reviewing 'A Few Streets', John Comino-James's first book about Havana. In his second book of photographs made in Havana, John Comino-James has again set out to explore a part of the city not normally visited by tourists. The geographical scope of the photographs is restricted to a single road, the Calzada del Diez de Octubre. The route itself predates the foundation of the Parish of Jesus del Monte in the 17th century and was formerly known as the Calzada de Jesus del Monte. In 1918 the road was renamed in commemoration of one of the most important events in Cuban history - the declaration of the first full-scale war of independence against Spanish colonial rule on 10th October 1868 by Carlos Manuel de Cespedes. Although its once important function as the principal route to the south has been superseded with the construction of new highways, the Calzada still remains a busy urban thoroughfare. Through engaged portraits and candid observation and with an eye for both architectural detail and the imposing facades that stand as testimony to the changing architectural styles of well over a century, John Comino-James creates an intimate and sympathetic record of the Calzada del Diez de Octubre which, through its long history, occupies an important place in the imagination and memory of Habaneros today.

William Eggleston once asked Harvey Benge - What are you doing these days? Photographing the urban social landscape, said Benge. Don't talk bullshit; what are you doing? Eggleston insisted. Making strange pictures in cities, replied Benge. However you look at them, Harvey Benge's photographs are mostly urban and generally strange. His work is mysterious; nothing is solid. The pictures capture contrasts and conflicts which leave you wondering what has just happened and what might happen next. He gives voice to the mundane and overlooked. His open-ended photographic sequences record small moments of everyday life that flash past with tension and ambiguity: an urban dream on the edge of reality where figures retreat, seats are empty, phones don't work. Any and every interpretation is a valid interpretation. What is going on? You decide. With photographs made in Paris, London, New York and Rome, this new intensely personal, some might say autobiographical book, is enigmatically entitled 'Some Things You Should Have Told Me'. It is a remorseless meditation on loss and misadventure, pain and impermanence, the inevitability of change. Questions are asked; there are no answers.

As well as looking at the training environment Kandhola focuses on three established figures in boxing: Julius Francis, a four-times British Heavyweight and Commonwealth champion, who Kandhola first photographed in 2000 just before his fight with Mike Tyson; Robert McCracken, who won the British Light Middleweight title in 1994 and the Commonwealth title in 1995 - currently McCracken is Performance Director for the British Olympic team, and personal coach to Carl Froch; and Howard 'Clakka' Clarke who fought at Madison Square Garden for the IBF Light Middleweight Title - he lost, after which his career took a significant nose-dive with him winning only one fight out of his next seventy. He retired in 2007.

There are now precious few places left on earth with which we do not feel familiar, if not from first hand experience then at least from the perspective of the armchair traveller - and fewer still where the camera has not yet prescribed our vision. An unrivalled collection of images of one of the last unsullied wildernesses in the world: the vast, uninhabited spaces of north-east Greenland. These beautiful, majestic and poetic landscapes exist in one of the harshest environments on earth. Roy traces the historical background with a brief outline of Greenland's early exploration. He documents the poignant traces of the Inuit tribe - their winter houses, summer tent circles and graves and enigmatic stone mosaics - and the structures left by the European trappers who once plied their dog-sledges in the lonely fjords. Iain Roy's first expedition to Greenland was in 1982, to the mountainous region of the south near Cape Farewell. He was a member of a small group of Arctic enthusiasts who shared a love of wild spaces and whose ambitions were fuelled by the accounts of earlier pioneers - early whaling and expedition journals and memoirs of scientists and trappers from the pre-war period. The group pooled their resources in order to reach remote corners of a faraway region that had become their common obsession. Roy himself has since made ten expeditions to the region.

'Rough Beauty' is a powerful and moving insight into the struggle of the community of Vidor, Texas, against poverty and its past links to the Ku Klux Klan.

Over the last five years Alessandro Imbriaco has been photographing issues around housing problems in Rome. This has led him to explore the peripheral and hidden spaces of the city. "The Garden" is one of these places. It is a small swamp next to the Aniene River, under a flyover on the ring road circling the eastern outskirts of Rome. Attempts have been made to protect the area's flora and fauna by designating it as a nature reserve, though these efforts have failed and it remains abandoned and with no environmental protection. Yet it has ended up protecting other living creatures: Angela, a six-year-old child, was born here and grew up here with her parents Piero, from Sicily, and Luba, from Russia, in a shack under the flyover. They have found sanctuary in the swamp - a safe shelter, hidden from the rest of the city - a different and invisible existence, unimaginable to all those who drive over the flyover every day.

Over a period of five years, award-winning photographer Paul Floyd Blake regularly photographed sixteen young athletes in the build up to the London 2012 Olympic and Paralympic Games. His work documents a unique time in British history, and captures the development of a generation of sportspeople as they grow from childhood to adulthood within the intense world of elite sport. Blake's restrained and subtle portraits offer an alternative to conventional sports photography, with its emphasis on dramatic moments of action. Instead, his images pay tribute to the long slog towards glory that is not usually seen or celebrated, whilst excerpts from the athletes' own writings offer insights into their personal hopes and fears. Blake's approach emphasises the individual's own story and motivations beyond the values and structures of competitive sport, as the title Personal Best suggests. These complex portraits bear repeated viewing and will continue to reward the onlooker long after London 2012 is over. With specially commissioned texts by curator Pippa Oldfield, Impressions Gallery, Bradford and Professor Jonathan Long, Leeds Metropolitan University, this book will interest sports fans, cultural historians and those interested in new approaches to contemporary photography.

Israel's history can be understood through its vast archaeological heritage. Its past exists not only in the written word but also in its land, in the architecture and ruins, in the stones themselves. Each civilization overwrites another, layer upon layer - a sophisticated palimpsest. A single frame can expose the sediment of thousands of years. The recycling of spaces, from one empire to the next, shows how each sought to conquer and rule the land, all with a similar outcome: eventual failure. Kremer shows the vestiges of this complex multi-cultural saga, testimonies unearthed from the past that show a different perspective. It is landscape as a place of amnesia and erasure, for Israel is a strategic site where the past has been buried and history veiled by natural beauty. Kremer's Israel exists beyond the media headlines and tourist hotspots: it is landscape as cultural force, an instrument in the construction of national and social identity. For Kremer, it is a provocation to critical debate about a country where different perspectives existed, and continue to exist, and where new possibilities can be reflected upon.

Red Thistle, the 2011 winner of The European Publishers Award for Photography, is a powerful and fascinating exploration of the important but relatively unknown region and people of the Northern Caucasus. It lies between the Black and Caspian Seas and is within European Russia. Wars have been fought here for centuries - the most recent in Chechnya. Monteleone examines the stubborn, rebellious culture of this region, which although part of Russia, differs in the ethnicity, religion and social customs of its inhabitants.

The war in Darfur, which has been controversially termed as 'genocide', is still ongoing, alongside a tardy peace negotiation process, which began back in 2010. Around 300,000 people are estimated to have died from the combined effects of war, hunger and disease. Darfur is inhabited by tribes of both African and Arab lineage. Both groups had co-existed for centuries, however, as a result of the increasing desertification of the region in the 1970s and 1980s, the nomadic Arab tribes began to head south in search of water and grazing land. They soon arrived at the settle-ments of the Africans. Skirmishes followed, though the fighting was small in scale and ended in 1994. The conflict resumed in 2003, when African rebel groups under the banner of the Darfur Liberation Front responded to the neglect and marginalization of their communities by initiating attacks. The Sudan government replied with major land and air assaults. By the summer of 2003 the infamous Janjaweed had become involved. By Spring 2004, they had killed several thousand non-arabs and an estimated million more had been driven from their homes. Yet it was not until more than 100,000 refugees, pursued by Janjaweed militia, escaped to neighbouring Chad that the conflict captured the attention of an international audience.