In this album, Mick Webber gathers some beautifully evocative photographs showing buses, trams and trolleybuses of London Transport at work during the period from 1933, when the organisation was formed, until 1969. In doing so he shows changes not only to transport in the capital but to London itself. Whilst primarily a black and white album, there is also a 1950s colour section. Much of the period covered by this book is looked back with nostalgia as a golden age for transport interest, but the times were often far from golden to live in. As the 1930s progressed the threat of war increased, only to become reality at the end of that period. With Britain at war in the first half of the 1940s and struggling to recover in the second half, that decade was difficult to live through for most Londoners. Poverty and slum-dwelling was widespread and it was only in the 1960s that the country fully recovered from the damage suffered by war. This was a period of mass rebuilding - often in a style not appreciated today - and parts of London were to change their appearance dramatically from then on. Many of the places shown in this album are still very recognisable today but others have changed completely.

Alternative Photography: Art and Artists, Edition I highlights the work of over 100 of today's most active photographers working with alternative processes. Discover how the different processes create a unique look in a print, and get an insight into how the processes function. Here you will find both information and inspiration. Artists introduce themselves, their work and why they chose the qualities of that particular process.

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The first monograph on a groundbreaking Surrealist masterpiece, Reading Claude Cahun's Disavowals offers a comprehensive account of Cahun's most important published work, Aveux non avenus (Disavowals), 1930. Jennifer L. Shaw provides an encompassing interpretation of this groundbreaking work, paying careful attention to the complex interrelationship between the photomontages and writings of Aveux non avenus. This study argues that the texts and images of Aveux non avenus not only explore Cahun's own subjectivity, they formulate a trenchant social and cultural critique. Shaw explores how Cahun's work both calls into question the dominant culture of interwar France - with its traditional gender roles, religious conservatism, and pronatalism - and takes to task the era's artistic avant-garde and in particular its models of desire. This volume cuts across the disciplinary boundaries of interwar art studies, demonstrating how one artist's personal exploration intervened in wider contemporary debates about the purpose of art, the role of women in French culture, and the status of homosexuality, in the aftermath of World War I.