Working collaboratively with impoverished communities across the UK, Kirsty Mackay has documented systemic inequality in The Magic Money Tree. This shot shows a homeless man sleeping, after receiving a hot drink at the drop-in centre at St Hilda’s church, South Shields, in September 2023.

To celebrate Bristol, the festival invited photographers with strong ties to the city to create projects there. This shot of Two Mile Hill is by Sebastian Bruno, in collaboration with the Salvation Army.

Spaces of Separation by Sarker Protick examines the physical remnants of empire across modern Bangladesh.

Oro Verde, a series by Ritual Inhabitual, investigates the involvement of Mexican drug cartels in the avocado trade, through a blend of documentary and fictional photography.

The Japanese photographer Rinko Kawauchi is best known for finding beauty in the everyday. This project, At the edge of the everyday world, celebrates two decades of work.

Nigel Poor started volunteering at San Quentin prison in 2011. The San Quentin Project is a long-term collaboration exploring its prison archive alongside inmates.

The Iranian photographer Hashem Shakeri documents the return of the Taliban to Afghanistan in the series Staring into the Abyss.

Porcelain Souls is a collection of photos by the parents of Inuuteq Storch, taken when they were young, plus the letters they wrote each other when they lived apart in Greenland and Denmark. The exhibition presents a history of Greenland as told by its people, rather than outsiders.

Herbert Shergold created highly stylised portraits of actors and locals in Bristol in the 50s and 60s. Now Keep Quite Still, the first known exhibition of his work, curated by the Dutch photo historian Hedy van Erp, will take place close to the site of Shergold’s original studio.

Monument documents the impressions of the Australian photographer Trent Parke on moving to Sydney from a small town, capturing the light on the mass of people moving around the city.

In No Home Without Fire, Bandia Ribeira has documented ‘the sea of plastic’, a vast network of greenhouses growing out-of-season vegetables that dominate the landscape in Almería, Spain.

The House Is a Body by Akosua Viktoria Adu-Sanyah is a new body of work relating to the colonial history of the Georgian House Museum, where it will be displayed. It was formerly home to the sugar merchant and slave owner George Pinney, but also the enslaved people Pero Jones and Fanny Coker, born into slavery and brought to Bristol by the Pinney family.