Gypsies is a term bandied about like the vampire bat, conjuring images of mystery, danger, repulsion, derision and disgust. Some call them tinkers, travellers, or even outcasts. They are all wrong. Their name is the Roma, a tribe that emanated from India and brought to Europe a culture infinitely alien to the people who lived there. As once the culture of native North American Indians was regarded with hate and superstition, so too have the Romanies in Europe been harried and murdered and rejected as beyond the pale. But they have pursued their traditions with a tenacity unmatched by Western cultures of church or state. Jarret Schecter sought to define those traditions, to encapsulate both the animation of Romany life and the dispossession of their culture in a so-called modern, civilized Europe. After three years he came to concentrate on the gypsy settlement of Hermanovce in Eastern Slovakia. Over four seasons he has given the lie to prejudice and bigotry, but at the same time demonstrating the hunger and despair, the innate joy and camaraderie of the Roma in Hermanovce. It is not a voyage of love or romance, though the subjects themselves suggest it. It is rather the result of a singular dedication to a truth, and the reality of that truth.

H2O. The Dead Sea. Rain. Acid rain. Heavy water. The Pacific, the Atlantic, the Indian Ocean, the source of the Nile. A tap, and on and on More than 1 billion people have insufficient water to sustain life. The World Health Organisation has the figures. The River Jordan, the Biblical epitome of water, is dying, like a man with his throat cut, his blood seeping down a drain. In Water Culture, Francesca Sorrenti of ske group, in collaboration with Ocean Futures Society's Jean-Michel Cousteau, has collected a kaleidoscope of the elemental qualities of water in a series of photographs that are breathtaking to behold in their fantasy and equilibrium. They chose the works of Mario Sorrenti, Nan Goldin, Fabien Baron, Andres Gursky, Eugene Smith, and Boris Michailov, among others, to represent this world. Against these extraordinary images are set the records of the follies of mankind, the greed and despair and ignorance of the source of life that will again leave a bewildered albatross or a seal coated in oil by another Amoco Cadiz that has spilt 250,000 tons of human degradation into the oceans.

Explore New Orleans in over 230 colorful postcards published during the first half of the 20th Century. These hand-tinted photographs and the accompanying text help illuminate this fascinating city, from its early agricultural and trade port origins, through its elaborate religious and riotous cultural heritage. Wonderful imagery of popular and historically significant sites accompanies interesting essays and trivia tidbits that shed light on one of North America's most colorful cities. Visit charming gardens, private courtyards, and balconies dripping in iron lacework. Tour scenic parks and revel in ornate, grand architecture. Read the tales of pirates, a bloody slave revolt, political duels settled with swords, and beautiful burial vaults built to efficiently recycle the remains of loved ones. Guidelines for dating and current market values for these cards make this a wonderful reference for anyone interested in collecting these historic treasures. The imagery makes this a nostalgic journey for anyone fond of this great city, and an invaluable reference for New Orleans historians.

Featuring modern portraits and first-hand accounts, this book offers a unique perspective on the Vietnam War, bringing together the stories of American Vietnam war veterans, southern Vietnamese war veterans and civilians. The surreal imagery of Thomas Sanders' vivid portraits encourages the viewer to take a closer look at those who experienced the war, giving them a chance to read the haunting, inspirational, and sometimes comical stories of the individuals of the Vietnam War. Set in a surreal jungle environment, the portraits evoke the sense of darkness and uncertainty felt by those who experienced the war. Some of the portraits hold objects that relate to their role or experience during their time in the service. The objects tell a deeper story of a dark and confusing war: the common cigarette pack smoked by the vets while in the jungle; a homemade grenade made by the northern Vietnamese; and a "order to report" document - a piece of paper that changed many a life. Vietnam Portraits serves as a form of catharsis for the many people involved in the Vietnam War and honours them by giving them an opportunity to tell their story, bearing witness to their service, their experiences and the aftermath.

Tokyo lives up to its reputation as a modern metropolis and, as this book shows, it is also one of the most exciting and diverse places on the planet. Focusing on Tokyo and its surrounding areas, photojournalist Stephen Mansfield brings this buzzing place to life within these pages. He presents all the well-established sights along with many new ones that are not "discovered" yet. This book will provide inspiration for every traveler--whether your interests are J-culture, fashion, food, traditional crafts, gardens or nature trails (or all of the above!). This visual guide is the perfect introduction for anyone planning a trip to Tokyo, reminiscing about time spent there or those hoping to go in the future.

As a National Geographic photographer, taking pictures of lions, tigers, and bears was a regular day's work for Vincent Musi, but in 2017 he gave himself a new challenge: dogs. Using the same lighting and photographic techniques he uses for his wildlife photography, Musi spent a year shooting portraits of dogs. From a farting bulldog to a Labrador that likes opera, he chronicled the character and personality of everyday dogs. The result was a wildly successful Instagram account. The Year of the Dogs features 75 dogs from this series of exquisite photos with close-ups, profiles, and full body shots along with a narrative about each dog. Presented in an elegant package that properly showcases the vitality of Musi's photos, The Year of the Dogs will be the go-to gift book for dog lovers of the holiday season.

When Gianni Bozzacchi accepted an assignment as a photographer on the set of The Comedians (1967), he didn't know that his life was about to change forever. His ability to capture the beauty of candid moments drew the attention of the film's star, Elizabeth Taylor, and prompted her to hire him as her personal photographer. Not only did he go on to enjoy a jet-set life as her friend and confidant -- preserving unguarded moments between the violet-eyed beauty and Richard Burton as they traveled the world -- but Bozzacchi also became an internationally renowned photographer and shot some of the biggest celebrities of the 1960s and 1970s. In My Life in Focus, Bozzacchi traces his journey from humble beginnings to the sphere of the rich and famous. As a child, he cultivated his skills by working with his father -- a photographer for the Italian government. Following in his parent's footsteps was not something Bozzacchi had foreseen for his future; but his passion for taking pictures and his ability to put his subjects at ease enabled him to capture stunning images of some of the greatest stars of the twentieth century, including Audrey Hepburn, Steve McQueen, Raquel Welch, Mia Farrow, Clint Eastwood, and the royal family of Monaco. Beautifully illustrated with many of the photographer's most iconic images, this lively memoir reveals private moments in the Taylor-Burton love story and provides an invaluable behind-the-scenes look at the business of filmmaking and the perils of celebrity.

Lake District Mountain Landscape is a spectacular photographic perspective on the Lake District from award-winning mountain photographer and filmmaker Alastair Lee. More than five years in the making, it is a work of extraordinary commitment and originality. With an emphasis on the mountain heights, Lee captures the otherworldliness and majesty of the 'English Alps' in all seasons and conditions. An experienced climber, Lee brings all his skill and tenacity to the task of capturing sunrise from the summits of the highest peaks in England, moonlight on icy slopes and seas of cloud filling the familiar valleys of Lakeland. Ascents of seemingly unscalable crags such as Pillar and Gimmer Crag are celebrated, and 360-degree panoramas in ethereal upland light from high peaks including Helvellyn, Bowfell and Great Gable are complemented by a series of identifying sketches. In a book which is full of revelations for Lakelanders and visitors alike, Alastair Lee renews and redefines the magic of this much-loved landscape.

Villa Albani Torlonia, with its collections, the Italian garden, and the hemicycle of the Kaffeehaus, is a sublime testimony of that particular antiquarian taste which came to the fore in the mid-eighteenth century, that for which Rome became a favourite destination on the Grand Tour. The classicist dream of Cardinal Alessandro Albani (1692 1779), was preserved thanks to the Torlonia family, who purchased the villa in 1866, enlarging the collection and the gardens and restoring the most important cardinal residence of the eighteenth century. More than 300 images by the great Italian master Massimo Listri recount the history of this extraordinary cultural heritage for the very first time. An immersive journey leads the reader between its collections of ancient masterpieces. Statues, bas-reliefs, and fountains are ensconced between the various buildings and gardens of the villa in a composition of environments, landscapes, and works of art forever waiting to be discovered.

Over the past decade, historians and sociologists have increasingly used visual materials, in particular photographs, in their work. This volume brings together historians, sociologists, anthropologists, and media and visual scholars to articulate how photography, as a practice and as a visual medium, can provide insights into national memory, collective identities, and the historical imagination. This collection allows the reader to trace parallel conceptual developments occurring in the sociology and anthropology of memory and in the history and theory of photography, and to illustrate the unique "angles of vision" these disciplines offer. Photographic images commonly accompany historical accounts, from documentaries to family scrapbooks, and since the early days of commercial photography, pictures have been viewed as tools to capture memories. Later critical writing has challenged this equation by inverting it: photos, along with other archival practices, were often viewed as falling short of their supposed function as vessels of memory and at times even denounced as devices that distorted memories. How does photography participate in the formation and maintenance of collective identities and shared memory discourses, from the family to the nation? Furthermore, how can we begin to conceptualize photography's effects on the historical imagination of individuals and groups? Double Exposure endeavors to answer these questions by calling attention to the variety of contexts in which images circulate and to the narratives from which they spring and which they, in turn, shape. This is the latest volume in Transaction's Memory and Narrative series.

This beautifully illustrated book presents the permanent collection of Antwerp's renowned fashion museum (MoMu), and offers an overview of the most important protagonists of Belgian fashion from the 1970s to today. It includes photographs of the exhibitions which took place at the museum between 2002 and 2018, and is supplemented by a selection from the museum's historical collection of clothing from the 18th and 19th centuries.

From the ancient world of Stonehenge and Had rian''s Wall to the glory of Blenheim Palace and the Tower of London, John Hedgecoe takes a photographic journey to some of the most popular historic attractions in England '

Hong Kong was first captured on camera when the British arrived to lay claim to its 'fragrant harbour' in 1841. Its fascinating history has been documented through photography ever since - from its rapid expansion as a Crown Colony to its handover to China in 1997 and its present status as one of the world's leading international financial centres. Pairing rare and previously unpublished photographs with contemporary views taken from the same location, Hong Kong Then and Now highlights the rich and varied history of this constantly evolving metropolis, from Victoria Harbour, the Hong Kong Club and the Star Ferry to Kowloon Walled CIty, Chek Lap Kok Airport and the gleaming skyscrapers of its central banking district. Sites include: Victoria Harbour, the Peak, the Star Ferry Pier, Man Ho Temple, Ladder Street, Queen's Road Central, Hong Kong Club, Prince's Building, HSBC, Noonday Gun, Happy Valley Racecourse, Tiger Balm Garden, Peninsula Hotel, Kai Tak Airport, Kowloon Walled City, Shenzhen, Repulse Bay, Chek Lap Kok Airport, St. Paul's (Macau).

Subtext invites and encourages personal and blatantly subjective responses to photographs and analyzes the drivers behind them. During decades of participating in critiques as both student and teacher, Andre Ruesch has become convinced that it is the personal response to work that connects us in the most visceral and meaningful way. This book aims to encourage and educate viewers how to read and understand photographs on a deeper level, honoring and validating their responses to photographs. This book seeks to vitalize students in the photography classroom. Rather than a dense tome of theory, this is an accessible guide to taking individual ownership of-and enjoying-the visual experience. To be visually literate is comparable to being linguistically literate. Such literacy is necessary to engender a deeper understanding and valuation of culture: both types of literacy create, enrich, define and historically document the expression of one individual to be shared by all.

Drawing on the work of Barthes, Eco, Foucault, Baudrillard, Burgin and Tagg, and on the historians of mentalities, War and Photography presents a theoretical approach to the understanding of press photography in its historical and contemporary context. Brothers applies her argument with special reference to French and British newspaper images of the Spanish Civil War, a selection of which is presented in the book. Rejecting analyses based upon the content of the images alone, she argues that photographic meaning is largely predetermined by its institutional and cultural context. Acting as witnesses despite themselves, photographs convey a wealth of information not about any objective reality, but about the collective attitudes and beliefs particular to the culture in which they operate.

Vanity Fair 100 Years showcases a century of personality and power, art and commerce, crisis and culture—both highbrow and low. In the sumptuous 384-page coffee table book, the editors of Vanity Fair have created the definitive history of the most talked-about magazine of our day. From its inception in 1913, through the Jazz Age and the Depression, to its reincarnation in the boom-boom Reagan years (after a 47-year hiatus), to the image-saturated Information Age, Vanity Fair has presented the modern era as it has unfolded—using wit, imagination, peerless literary narrative and bold, groundbreaking imagery. The most innovative voices in popular culture are all compiled within these pages (from Robert Benchley, Jacques Cocteau and Dorothy Parker, to William Styron, Christopher Hitchens and Dominick Dunne) along with the greatest magazine illustrators, artists and photographers of all time—most notably Edward Steichen and Annie Leibovitz, who, through Vanity Fair, virtually invented the modern celebrity portrait. Writers Sam Kashner and Nancy Schoenberger contribute an essay on the incomparable Frank Crowninshield and the birth of the Jazz Age Vanity Fair, Jim Windolf chronicles the magazine’s rebirth in 1983, and Frank DiGiacomo gives the history of the glamorous Vanity Fair Oscar Party.

Any examination of the history of the photographic portrait uncovers two very different traditions, shaped by the place where they were made - in the street or in the studio. Both are essentially urban. The street has been the place where small and easily concealed cameras allowed photographers to capture subjects unaware or at least in informal settings. In contrast, the studio offered both photographer and subjects the opportunity to present carefully composed images to the world, making use of all the elaborate staging and technical tricks at their disposal. Both these practices have since been subverted, with celebrities becoming used to posing in the street and the studio being used for informal and intimate shots. For the first time this book examines the contrasts and tensions between these two traditions, revealing much about the history of photography itself and providing fascinating insights into the changing face of societies across the globe.The book will include many of the greatest names in the history of photography. Among those who have famously photographed in the street, it will feature work by Atget, Brassai, Henri Cartier-Bresson, Robert Frank, Diane Arbus, Araki, Boris Mikhailov and Wolfgang Tillmans. Studio-based photographers include Carlo Ponti, Edward Steichen, Richard Avedon, David Bailey, Annie Leibovitz, Jurgen Teller, and Rineke Dijkstra. Essays by leading critics examine the history of street and studio photography and how the images these photographers have produced has conditioned the way we see both the modern city and ourselves.

A unique portrait of nineteenth-century Italy as seen through the eyes of the first generation of British photographers This book examines the ways in which the new medium of photography influenced the British experience, appreciation, and perception of Italy in the nineteenth century. Setting photography within a long history of image making-beginning with the eighteenth-century Grand Tour and transformed by the inventions of William Henry Fox Talbot and Louis Daguerre-this beautifully illustrated book features many previously unpublished images alongside the work of well-known photographers. The sixteen essays in this volume explore photography as a vehicle for visual translation and cultural exchange. Distributed for the Yale Center for British Art

Viewing Distance compiles and transforms declassified material from US government archives to examine photography as a tool of the military-industrial complex for reconnaissance, surveillance, and documentation of advanced technologies. While many of the source images for this body of work date back to the middle 20th century, they have only recently been released and much information remains secret. These pictures represent the decades-long time delay from when knowledge comes into being and when it becomes publicly accessible. The Cold War period that much of the material originates from is a significant turning point in photography's technological development and use for intelligence gathering. The book combines photographs pertaining to the clandestine innovations and operations of that era with contemporary documents and devices, connecting past and present. Processes including analog printing, digital collage, scanner manipulation, and data bending are used to animate the archival material. Through this disruption and layering, historical fragments are presented in a state of flux, open to alternate associations and implications. What we are allowed to know and see is often incomplete and indeterminate, encouraging speculation and critical vision. -- Evan Hume * Evan Hume *

Robb Helfrick brings us a photographic portfolio of the oldest permanent European settlement in North America?and the alluring city it has become today. Spaniards first settled here on the north coast of Atlantic Florida in 1565, and for centuries after the fortressed city of St. Augustine was a focal point of wars between cultures and equally challenging engagements between people and the tropical environment. By the end of the 19th century, St. Augustine was also a tourist destination, adding another layer of architectural style to the dramatic visual history that abounds in the city today.

Caught on camera prior to their demise, this book reveals the surprisingly rich photographic record of now-extinct animals. A photograph of an animal long-gone evokes a feeling of loss more than a painting ever can. Often tinted sepia or black-and-white, these images were mainly taken in zoos or wildlife parks, and in a handful of cases featured the last known individual of the species. There are some familiar examples, such as Martha, the last Passenger Pigeon, or the Ivory-billed Woodpecker, recently fledged and perching happily on the hat of one of the biologists that had just ringed it. But for every Martha there are a number of less familiar extinct birds and mammals that were caught on camera. The photographic record of extinction is the focus of this remarkable book, written by the world's leading authority on vanished animals, Errol Fuller. Lost Animals features photographs dating from around 1870 to as recently as 2004, the year that saw the demise of the Hawaiian Po'ouli. From a mother Thylacine and her pups to now-extinct birds such as the Heath Hen and Carolina Parakeet, Fuller tells the tale of each animal, why it became extinct, and discusses the circumstances surrounding the photography itself, in a book rich with unique images. The photographs themselves are poignant and compelling. They provide a tangible link to animals that have now vanished forever, in a book that brings the past to life while delivering a warning for the future.