'Afghan Box Camera' documents a living form of photography in danger of disappearing forever. Known as the kamra-e-faoree ('instant camera'), Afghanistan is one of the last places on earth where it has continued to be used by photographers as a way of making a living. Hand-made out of wood, it is a camera and darkroom in one, and generations of Afghans have had their portraits taken with it, usually for identity documents. Under the Taliban, with the banning of photography, it was even outlawed, forcing photographers to hide or destroy their tools. Spanning decades, from peacetime to war, box camera photography in Afghanistan exists within a more sophisticated photographic history. The same photographers who ply their trade with the humble kamra-e-faoree may also make large format black and white portraits, which are then hand-coloured with exquisite artistry. With the help of dozens of Afghan photographers, 'Afghan Box Camera' illustrates the technique and artistry of a previously untold and visually enthralling photographic culture.

Photo Peshawar delves into the largely unexplored culture of photography in the Pakistani frontier city of Peshawar from the 1940s to the present day. Photography in Peshawar has historically and culturally found itself caught between the creative and conservative forces of both India and Afghanistan. Variously borne of British rule, the partition of India, war in neighbouring Afghanistan, the rise of the Taliban, local tribal law, a historical prohibition on image-making in Islam, the practice of purdah (the veiling of females in public), and the regional movie industry, there is a tangible stress between the practice of photography as it is pursued and the culture in which it is lived. With nearly one hundred and fifty photographs, each more stunning than the earlier, 'photography as craft is what this splendid volume examines - photography at the living, bleeding intersection of culture, war, frontier and fantasy, the sheer human inventiveness that results from a magnificent and tragic brew of technology and history'.

Represents a true photographic pioneer; Birk's medium is inventive and predates the contrived nostalgia of contemporary apps and filters. This innovative collection of images is a standout in the travel photography genre. Upon relocating to Beijing, photographer Lukas Birk attempts to escape the sense of stagnation that plagued him in his central European home. He encounters a group of like-minded young creatives who share his sentiment of "nostalgia teetering on the edge of melancholy." Hoping to express that feeling, Birk discovers his father's collection of expired Polaroid film. With Birk's medium acting as a metaphor for the transformation of modern China - its rapid development and the void of nostalgia left behind - this book presents a sense of something from the past interrupted by modern motives, a collision of old and new world visions. In her insightful foreword, art advisor Katherine Don details Birk's contribution to contemporary art in China and comments on his pioneering innovation. Birk's stunning collection of inventive imagery captures the vibrancy of contemporary life, inspired by the filter of his own nostalgia and longing.