A passenger waits after his train arrived in Nouadhibou, Mauritania’s second largest city and the main export port for the country’s iron ore industry, on June 25, 2014. The mining company’s employees proudly call their firm the lung of their nation's economy and the train that ferries the ore to the coast stretches some two kilometres, making it one of the world's longest. SNIM mines black iron ore in the northern town of Zouerate, a remote desert location which nevertheless attracts people from all over the country looking for work. (Photo by Joe Penney/Reuters)

Snow blows off the Svalbard Global Seed Vault before being inaugurated at sunrise, Tuesday, February 26, 2008. (Photo by John McConnico/AP Photo)

In this photograph taken on January 19, 2012, Indonesian schoolchildren hold on to iron cables as they cross a nearly-collapsed suspension bridge at Sanghiang Tanjung village in Indonesia's Banten province to reach their school. (Photo by Kris Aria/AFP Photo)

Marco Antonio Eguchi of Brazil gets bucked off of Bottoms Up in the first round of the PBR Frontier Communications Iron Cowboy at AT& T Stadium on February 18, 2017 in Arlington, Texas. (Photo by Tom Pennington/Getty Images)

The faces of war have been brought back to life after a series of World War One photographs were expertly colourised. The black and white snaps were painstakingly restored and colourised by photographer Mario Unger (53) from Rotenturm, Austria. Here: One image shows an unidentified American soldier posing with a pistol, helmet, and Iron Cross medal taken from a German soldier, 1918. (Photo by Mario Unger/Mediadrumworld)

A dramatic sunset acts as a backdrop to Stonehenge on November 20, 2008 in Stonehenge, England. (Photo by Mike Hewitt/Getty Images)

A woman selling souvenirs walks through Kuta beach in Bali June 5, 2008. Indonesia is expected to report tourist arrivals in December this week. (Photo by Murdani Usman/Reuters)

A collaboration between creative director Anna Burns and the photographer Thomas Brown. Through the use of various mediums the pair have curated an exhibition that explores the masculine world of B-Movies and juxtaposed it with the traditional British landscape. Using the themes of said movies – girls, guns and explosives – and twisting it against a very British backdrop these two challenge not only the premise of each subject but also the use of their chosen medias. The duo created a wall of umbrellas displaying elements of the classic B-Movie and located them within three landscapes – one being the forest, then London’s docklands and finally the grounds of Suffolk Manor house.