In Westography, the renowned photographer Warren Kirk gains exclusive access to the homes and businesses of the last of a generation, capturing once-bustling industrial areas and the old inhabitants of back-street suburbia, along with garages, barber shops, fish and chip shops, milk bars, front gardens, sheds, and everything in between.

The sentiment that flows through these images is a balm to the knowledge that time is passing and things will change - William McInnes. Warren Kirk's photos will strike a chord with anyone who's grown up in the Australian suburbs in the past 50 years. Somehow both achingly familiar and unimaginably strange, these luminous images continue his 30-year project of documenting a way of life that is slowly disappearing, along with the people who lived it. Taken with loving attention and considerable skill, and with the utmost respect for the people and places that appear in them, Kirk's photos of shops and houses, of gardens and lounge-rooms, of people surrounded by the things they love, are beautifully evocative and powerfully nostalgic.

A sequel to Old Vintage Melbourne, this collection invites you again to turn back time and revisit the diverse past of the much-loved city of Melbourne. This captivating compilation of photographs taken between 1960 and 1990 provides a fascinating glimpse of a time that is familiar and yet different, when significant changes started to affect the city and its suburbs. As historic city buildings were demolished and streetscapes altered, Melbourne embraced modernity. The skyline grew, and so did suburban shopping centres. Under the impact of a rapidly rising population and large-scale migration, the city's distinctive and vibrant culture that we know today began to emerge. Cafés, fashion, sport, architecture, infrastructure, technology, and even the law were all transformed. Adapted from the highly popular 'Old Vintage Melbourne' Instagram account, this collection allows us to behold iconic sights and scenes--some as they were, and some as they still are, generations later. For many readers, it offers a chance to indulge in rare memories of growing up in our unique city.

Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson's The Decisive Moment. In 1966 he changed from black and white to color film, perhaps to make the medium more his own and less that of his esteemed predecessors. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the "first color photographer, " and certainly the world in which we consider a color photograph as art has changed because of Eggleston. From 1966 to 1971, Eggleston would occasionally use a two and one quarter inch format for photographs. These are collected and published here for the first time, adding more classic Eggleston images to photography's color canon.