HAVANA: Intimations of Departure is John Comino-James' third book of photographs relating to his experience of that city, first visited in 2002 and many times since. Yet the city still surprises; he writes: Just when I think I know parts of the city well, I catch myself walking in streets made unfamiliar by my photographs.' Arranged in six sequences, the book contemplates the visual experiences and emotional connections the photographer might lose were he unable to walk through its streets again. We imagine moments in the history of buildings, find ourselves led towards and almost overwhelmed by the energy of the street, and observe moments of individual preoccupation and solitude. In the final section, through text and colour, he responds to the blandishments of a tourist industry which all too often proposes that 'Cuba is on the verge of change - now is the perfect time to visit before its distinctive character is altered forever', countering the proposition that the Havana landscape simply presents an opportunity 'for great dramatic photos for competitions and portfolios', pointing to a wider culture of art and politics beyond the Che Guevara T-shirts and other souvenirs.

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.

'Inside Photography', a collaboration between the writer/editor, David Brittain and graphic artist, Clinton Cahill, is a book of interviews that sheds light on the art photography magazine. Inciteful and often irreverent, the book demonstrates how this critically overlooked type of publication can be an invaluable resource for creative and historical investigations.

Over the past six years Mexico has been consumed by a brutal conflict - more than 35,000 people have been killed and kidnappings have skyrocketed. After barely winning Mexico's 2006 presidential election, Felipe Calderon escalated the battle against the country's drug cartels in an attempt to marginalise the deadly gangs and the corrupt politicians and police officers who enable them. The cartels are ruthless, meting out an awesome brutality where heads are rolled into crowded discos and dismembered bodies are abandoned on busy streets. The gruesome nature of the crimes is at once unbearable and on display for the entire country to see. The narrative of Mexico's conflict is often reduced to the bodycount on the border, but the offensive against the cartels has caused an eruption of violence that is not isolated to one region. The wounds of this war bleed into every corner of the country, staining the very fabric of Mexican life with violence, death and fear. In Heavy Hand, Sunken Spirit, David Rochkind moves beyond simple depictions of carnage to explore the stress and tension left in the wake of such violence and to illustrate how this conflict will impact on and handicap Mexico's future.

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.

The "Illustrated History of Leicester's Suburbs" shows, through a fine selection of photographs from the Leicester Mercury and Leicestershire Record Office, how the countryside, farms and villages developed into the urban streets, residential areas, shopping districts and industrial estates that are so familiar today. In the course of the last 150 years, the outskirts of the city have been transformed, and they would have expanded in a way that would astonish Leicester residents of just a few generations ago.In this detailed and fully-illustrated account of the suburbs, Christine Jordan offers a concise history of each district, but she also features local anecdotes, myths and folklore, and she remembers remarkable, sometimes bizarre, episodes and notable individuals who played their part in the story. Her survey will be essential reading and reference for everyone who takes an interest in their neighbourhood and in the complex, surprising history of the city itself.Leicester evolved over the centuries, gradually at first, then swiftly during the 19th and 20th centuries. In the space of a few generations, small villages on the periphery were absorbed by the city's expansion. But Christine Jordan shows how these villages retained an identity, and their names have lived on in the urban areas that surround the centre. The origins and development of districts as diverse as Aylestone, Braunstone, Stoneygate, Evington, Spinney Hills and Clarendon Park are recalled in her account, as are the stories of the many other communities that make up the modern city.

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.

Around 1pm, every day of the week, nearly 600 bingo halls across the UK open their doors to thousands of loyal customers. But, although they can be found on almost every British high street, surprisingly few people ever see what goes on inside. In Bingo & Social Club, photographer Michael Hess opens up this world to a new audience. Behind the often-crumbling exteriors, he finds vibrant places full of strong characters, quirky details and more than a hint of nostalgia. In his own words: I want people to feel that they've spent a night at the bingo - to sense what it feels like to be there.A" Michael explains how the project started. I played bingo one night in 2005, just out of curiosity about what went on inside the big old converted cinema near my house. I was instantly fascinated by the characters. And so the next time I visited, I took my camera. 4 years and more than 60 bingo halls later I was ready to make Bingo & Social Club.A" Michael Hess and Maxine Gallagher spent many nights in the clubs, playing bingo, chatting with the managers and customers, and collecting stories from the people they met. They wanted to find out who these people really were. Bingo halls are not just about gambling; they're about human beings. They really do act as social hubs for many communities.A" Jack, the manager of a bingo club in Newcastle, forms the backbone of the book. He's quite a character - tough and yet extremely dignified - and I knew straight away he could add the extra dimension I was looking for. I've always been inspired by classic movies, and he suited the enigmatic lead role perfectly.A"

Victor, Colorado -- the City of Mines - came into life in the early 1890s when a prospector who had been unsuccessfully searching for gold for nineteen years finally hit pay dirt. Victor, and the nearby Cripple Creek, became the two key towns in a strip of land just ten miles by six that offered up an extraordinary geological bonanza. People flocked into Victor in search of their fortunes and its population quickly rose to over 18,000. Flourishing businesses served the miners and the hundreds of surrounding mines, and an area which had once been isolated ranching country became totally transformed. The gold and the prospectors are now long gone, but Victor, with its current population of now only 450, still echoes this history in its streets and buildings.Anderson & Low discovered it by chance fifteen years ago and were immediately mesmerized by the town's individuality. With its sense of being a place outside of time - neither of the present nor of the past - it has drawn them back repeatedly.In their images they weave back-and-forth from expansive landscapes, through to expressive architectural images and intimate interiors. Whilst their subjects are primarily architectural, the human imprint of these historic structures is evident and powerfully conveyed. The result is a disarmingly intimate and moving study of a small American town.

Cosmonauts have lived and trained in Star City since the 1960s. In the Soviet era, it was one of the most top secret locations in the Soviet Union. Also known as The Yuri Gagarin Russian State Science Research Cosmonauts Training Centre) it is still a military research facility and consists of a training facility and a residential area for the cosmonauts and their families as well as the military and civilian personnel serving the facility. Baikonur, situated in Kazakhstan, was the world's first space launch facility and it is still the largest. Nowadays, the site is rented and administered by Russia. Direction-Space! is a fascinating study of Star City and Baikonur. Incorporating unique archive materials, it explores the reality of the space community at first hand, investigating the physical and psychological space as well the routine and lives of its residents. It offers a new insight into a subject central to the Cold War history of the Soviet Union and raises questions over attitudes and perceptions that have been formed over the years.

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.