In 1948, photographer Tom Kelley took a photograph of an out-of-work actress, a nude posed against a scarlet background. That actress was Marilyn Monroe, and a few years later, the photo became Playboy's first ever centrefold. This volume offers a complete look at Kelley's visionary colour nude photography of the 1940s-1970s.

Ireland is a collection of 300 contemporary images of the beauties of Ireland, covering every one of the 32 counties. The photographs are taken by two of the country's leading landscape photographers, Peter Zoller and Michael Diggin.

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.

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."

Commemorating the 150th anniversary of the first climb of the Matterhorn by Edward Whymper and his party in July1865, this large format pictorial book features over 100 pages of photographs of the world's most recognisable mountain, together with tantalising extracts from Whymper's own book The Ascent of the Matterhorn, and the details of Graeme Wallace's attempt to traverse the summit up via the Lion Ridge in Italy and down the Hornli Ridge in Switzerland, 150 years later in 2015. Back in 1865, a series of remarkable coincidences brought together several ambitious British mountaineers in a race to first ascend the 4478 metre Matterhorn. Referred to as The Devil's Mountain and believed to be the place where only spirits dwelt, the Matterhorn was considered un-scalable. While the hurriedly formed British team tackled the unknown north-east ridge, a well-funded Italian team, with a two day head start, approached up via the south-west ridge. The race to finally conquer the mighty Matterhorn was truly on.Success was followed by disaster and despite becoming the most successful mountaineer of his day, stories of triumph, transgression and tragedy would follow Whymper for the rest of his 46 years of life.

The Landscape of Murder documents all the sites where murders occurred in London between January 1st, 2011 and December 31st, 2012. In total 209 murders were committed over this two year period. Most murders make the news for only a fleeting moment and the landscape in which they occur reverts back to normality very quickly after the forensic teams leave. Yet the scars remain, sometimes subtle, sometimes very open, whether a single solitary flower or the gathering of grieving family and friends. Sometimes nothing remains to show that a life has ended violently in a particular location. Antonio Zazueta Olmos seeks to give memory to what are mostly forgotten events, in unseen places where great violence has occurred. A violence that is mostly silent, private and unseen by the wider public. The project has taken him to parts of London he knew little or nothing about and in the process he has created an alternative portrait of London, one shaped by violence and inequality.

George Dureau, The Photographs is an album of the great photographic portraits made throughout the forty years of Dureau's artistic career-a New Orleans romance between the photographer and his subjects. All of Dureau's exquisite photographs, many of them nudes, were made in his studio in the French Quarter of New Orleans, or on the city's streets. He began photography for the pleasure of photographing his lovers, and as research material for his paintings. Only later on did he begin to take his photographs seriously as works of art in their own right. Many of his subjects became part of Dureau's "extended family," whom he photographed on different occasions over many years. Surprisingly, only one book of Dureau's photographs has been published: New Orleans, 1985, a modest paperback long out of print. This Aperture book is possible now because of the commitment of the community of Dureau's supporters to see it happen. George Dureau, The Photographs is edited by Chris Boot, with a text by Philip Gefter.

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.

Air shows are a fun day out for the family. On the ground, tank rides are on offer and armed forces' recruitment drives afford children an opportunity to indulge in their fascination with guns. There are elements of fantasy and the carnivalesque here and a clear disconnect between this 'play' and the actual effect of weapons. In Friend's photographs the beach and the landscape become uneasy, surreal spaces, temporarily militarized by the fleeting presence and roar of fighter jets. She places us at the edge of the island state where the sight and sounds of these aerial displays remind us of Winston Churchill's World War II speech, "We shall fight on the beaches". Civilian aircraft displays are interwoven with military ones, whilst nostalgia for World War II is evoked by the presence of 'war birds' such as the Lancaster bomber, only to be followed by the 'shock and awe' displays of contemporary fighter jets such as the Tornado, recently deployed in Libya and Afghanistan. By contrast, the trade days of the larger air shows such as Farnborough promote military hardware in a more direct way, while deals are negotiated behind the closed doors of the hospitality chalets.

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.

'One Another' features images mainly taken at night in St Petersburg and Berlin. Leaden-coloured scenes, greasy spoon cafes, empty halls and old hotel rooms that seem to echo with traces of the past. And people's faces - - hurried glances, small awkward gestures, hands searching for support, the signs of grief or desparation in the corner of an eye - people breaking through the glass of loneliness. For Resnik, photography is the way to stop a moment and look deeper into reality, to step past the often painful dichotomy between subject and the object: "You roam the world looking for the moments you can stop and turn into an act of perception, looking for a revelation, looking for a mirror."

This addition to the affordable Photofile series brings together the best work of Ernst Haas, one of the world's greatest photographers. One of the early pioneers of colour photography, Haas began his photographic career in the 1940s in Vienna, rising to fame following the publication of his photo essay on returning prisoners of war from Russia. In 1951, Haas decided to make his home in NewYork, and became renowned for his work with motion photography and advertising campaigns for companies such as Marlboro, Chrysler and Volkswagen. With a selection of his most representative images and a bibliography for further reading, this is an ideal introduction to the photographer.

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.

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.

Recognised as one of the UK's most important photographers of the last forty years, Brian Griffin grew up near Birmingham amongst the factories of the Black Country. His parents were factory workers and from birth Griffin seemed set to follow in their footsteps. And so, on leaving school at the age 16, he began working in a factory, just like everyone else around him. A year later he moved to British Steel working as a trainee pipework engineering estimator in a job that involved costing systems for the nuclear power stations that were then being built. He remained there four years before escaping the tedium of the office by enrolling to study photography at Manchester College of Art. Griffin has exhibited and published widely. In 1989 he had a one-man show at the National Portrait Gallery, London. The same year The Guardian newspaper selected him as 'The Photographer of the Decade' and LIFE magazine used his photograph 'A Broken Frame' as the covershot for their feature 'Greatest Photographs of the Eighties'. During the 1990s Brian Griffin retired from photography and focused on directing advertising, pop videos and short films. He returned to photography in 2001, reestablishing himself once again at the pinacle of British Photography.

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.

The Aperture Masters of Photography Series has become a touchstone of Aperture's longstanding commitment to introducing the history and art of photography to a broader public. Each volume provides an ongoing comprehensive view of the artists who have helped shape the medium. Initially presented as the History of Photography Series in 1976, the first volume featured Henri Cartier-Bresson and was edited by legendary French publisher Robert Delpire, who cofounded the series with Aperture's own Michael Hoffman. Twenty volumes have been published in total, each of them devoted to an image-maker whose achievements have accorded them vital importance in the history of photography. Each volume presents an evocative selection of the photographer's life's work, introduced with a foreword by a notable curator or historian of each artist. The series will be relaunched in Fall 2014, beginning with books on Paul Strand and Dorothea Lange, elegantly updated and refreshed for today's photography-hungry audiences, and introducing new, image-by-image commentary and chronologies of the artists' lives for each of the previously published titles. The series will also include entirely new titles on individual artists. The Aperture Masters of Photography Series is an unparalleled library of both historical and contemporary photographers, and serves as an accessible compilation for anyone studying the history of photography.

Occupied is a collection of urinals used and photographed by artist Brian Fouhy. By including information surrounding the use of the urinal, such as the meal eaten in a restaurant, the score of a game at a sporting event, or the miles travelled since his last pee break while driving; Fouhy adds another layer to the experience beyond just a standard visit to the loo. This book is full of fun, whimsy and takes a tongue-and-cheek look behind the closed doors of bathrooms. The second book from Brian, this collection of photography still maintains that distinct observational style of the artist.

In The Persephones, American poet Nathaniel Tarn (born 1928) and American photographer Joan Myers (born 1941) offer an elegant, collaborative retelling of Persephone's abduction into the underworld. Many of Myers' images were shot at the sites from which the myth originated. Edition of 500 copies.