A. Aubrey Bodine, newspaper photographer, pictorialist, modernist, and documentarian, was a Baltimore Sunday Sun feature photographer from 1924 to 1970. He left an archive of photographs, chronicling mid-twentieth century American life, of people doing all kinds of work. Bodine's images of heavy industry document an era passed. This book contains a wide range of award winning and historically significant images, many not seen since they were published in the Sun. These pictures demonstrate Bodine's extraordinary depth and breadth as a photographic artist. This is the third Bodine picture book assembled by his daughter, Jennifer. Their previous collaborations are Bodine's Chesapeake Bay Country and Bodine's City.

Archive and contemporary photographs of the same landmark sit side-by-side to show how "Gate City" became the bustling capital of the New South. Atlanta blends the old-Southern charm and hospitality of its history with the energy of the modern millennial city. Staked out in the 1837 wilderness of northeast Georgia, the site that became Atlanta was identified as the termination point for the as-yet unbuilt railroad line. Since that time, transportation has been key to the city's growth, from its declaration as the Gate City of the South in 1857, its prominence as a distribution center during the Civil War, to its current designation as home of the nation's busiest airport. At the end of the 19th century, Atlanta presented itself to the world in a grand international exposition; it closed the next century by bringing the world to Atlanta as it hosted the 1996 Centennial Olympic Games. Throughout this drive from rural terminal to urban metropolis, Atlanta has witnessed incredible growth. The scenes in this book document this change as the city's tree-lined avenues and country crossroads gave way to high-rises, busy city intersections, and community growth. Atlanta: Then and Now is a captivating chronicle of history and change since the dawn of the camera age. It pairs historic photographs, many more than a century old, with specially commissioned views of the same scene as it exists today to show the evolution of Atlanta from its early years to the very different city that it is today. Sites include: Ellis, Hunter, Alabama, Marietta, Peachtree and Decatur Streets, Train Gulch, Cabbage Town, Inman Park, Georgian Terrace, Terminal Station, The Castle, and Margaret Mitchell Square

The safety of countless people has depended on lighthouses, beacons that cut through fog and darkness to alert seafaring souls of shores ahead. A former lighthouse keeper tells the dramatic stories of the sentinels that line the coast from California to British Columbia. Vintage and color photos of these lighthouses, coastal landscapes, and even tragic shipwrecks are presented as part of a narrative that focuses on human courage. As technology inexorably advances, the job of the lighthouse keeper is gradually being phased out. This is the twilight of the lighthouses' use for navigation, and this work is a tribute to a way of life that is an important part in the American maritime cultural fabric.

Argentinian photographer Sabina Tuscany provides a window on a region which remains hidden from most visitores to Argentina - the Pampa. This is the home of the Gauchos and Criollos, vast herds of cattle, fabulous birdlife, and the few remaining colonia store, the Almacenes. Most of them date back to the 19th century, but survive in all their originality ot the present day. For this book Sabina Tuscan photographs and describes their environs, and legendary figures of the Pampa, the Gauchos, in their rural horse-riding festivals.

Eye on Africa: Thirty years of Africa images, selected by Salgado himself Sebasti?o Salgado is one the most respected photojournalists working today, his reputation forged by decades of dedication and powerful black and white images of dispossessed and distressed people taken in places where most wouldn?t dare to go. Although he has photographed throughout South America and around the globe, his work most heavily concentrates on Africa, where he has shot more than 40 reportage works over a period of 30 years. From the Dinka tribes in Sudan and the Himba in Namibia to gorillas and volcanoes in the lakes region to displaced peoples throughout the continent, Salgado shows us all facets of African life today. Whether he's documenting refugees or vast landscapes, Salgado knows exactly how to grab the essence of a moment so that when one sees his images one is involuntarily drawn into them. His images artfully teach us the disastrous effects of war, poverty, disease, and hostile climatic conditions. This book brings together Salgado's photos of Africa in three parts. The first concentrates on the southern part of the continent (Mozambique, Malawi, Angola, Zimbabwe, South Africa, Namibia), the second on the Great Lakes region (Congo, Rwanda, Burundi, Uganda, Tanzania, Kenya), and the third on the Sub-Saharan region (Burkina Faso, Mali, Sudan, Somalia, Chad, Mauritania, Senegal, Ethiopia). Texts are provided by renowned Mozambique novelist Mia Couto, who describes how today's Africa reflects the effects of colonization as well as the consequences of economic, social, and environmental crises. This stunning book is not only a sweeping document of Africa but an homage to the continent's history, people, and natural phenomena.

Poetry. Art. Translated by Krzysztof Fijalkowski. Originally published in 1945 by Les Editions de l'Oubli in Bucharest, THE PASSIVE VAMPIRE caught the attention of the French Surrealists when an excerpt appeared in 1947 alongside texts by Jabes and Michaux in Georges Henein's magazine La part du sable. Luca, whose work was admired by Gilles Deleuze, attempts here to transmit the "shudder" evoked by some Surrealist texts, such as Andre Breton's Nadja and Mad Love, probing with acerbic humor the fragile boundary between "objective chance" and delirium. Impossible to define, THE PASSIVE VAMPIRE is a mixture of theoretical treatise and breathless poetic prose, personal confession and scientific investigation -- it is 18 photographs of "objectively offered objects," a category created by Luca to occupy the space opened up by Breton. At times taking shape as assemblages, these objects are meant to capture chance in its dynamic and dramatic forms by externalizing the ambivalence of our drives and bringing to light the nearly continual equivalence between our love-hate tendencies and the world of things.

Historic images lead the reader through old Berlin and its famous landmarks from the former Stadtschloss to Schloss Charlottenburg, with an historic overview providing an introduction to the now unified city. The book's main focus is on the Imperial Period from the formation of the German Empire in 1871 until the end of the First World War in 1918. Old photographs and historic city views help readers understand today's lifestyle and current trends in urban development.

What can be more inspiring and resilient than listening to a five-year-old girl who spent her life until then struggling with severe multiple food allergies, saying that when she couldn't eat strawberries, she pretended that watermelons were strawberries? Moments like this kept Sandra Bacchi strong and positive while facing the shadows that came to the surface when she became a mother. Watermelons Are Not Strawberries is a photographic memoir about the ups and downs of parenting and the surprising lessons about acceptance and healing we can learn from our children. The visual experience of moving from chaos to clarity is both vulnerable and relatable, giving the viewer a window into what it means to find peace and a little bit of hope.

A photographic slice of conscript life in the South African Defence ForceThis pictorial is a compilation of images obtained by the author while working on his first book-an oral history of pre-1994 South African Defence Force national service. It was illegal to take photos; however, there were inevitably those conscripts who ignored the rules, aiming their cheap, disposable cameras at whatever they could, but usually among comrades or when it was considered safe to do so. Inevitably certain images are poor in quality, often blurred and off-centre. But that is the reality-hastily-taken amateur snapshots. Even so, many are remarkably clear, serving to illustrate a period when over 600,000 white South African males, between 1951 and 1993, were ordered to join the South African Defence Force for service mainly 'on the border', or the 'Operational Area'-South West Africa (Namibia) and Angola. It is of note that all the photos, apart from Operation Protea, were taken by non-professional soldiers; young men some would call boys. Some patriotically embraced their call-ups as an opportunity to serve their country, while most stoically accepted their unsought-for lot-the law, and a war to protect South Africa from the spread of communism, the Red Tide. Cameron Blake was born in 1969 in Johannesburg where he grew up. He graduated from the University of Cape Town in 1991, with a Diploma in Graphic Design. In 1992, still liable for compulsory national service-albeit in the early '90s when most conscripts were not heeding their call-ups-he cleared in at Voortrekkerhoogte, a large military base outside Pretoria. After doing his basic training in the Technical Services Corps, he transferred to the Ordnance Services Corps in Cape Town, completing his service in the media department. After a decade of varying careers in creative media fields, he finally teamed up with a long-time friend to open a small shop in Cape Town's CBD. The shop specializes in coins, medals and surplus militaria: his true passions. It was here that he began networking with veterans and collecting their stories, in line with his interest in southern African military history. His first book, Troepie: From Call-up to Camps, was published in 2009, and the sequel, From Soldier to Civvy, in 2010.

For over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and among the African Diaspora. Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events-traditional African ceremonies and contemporary costume parties and carnivals- who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maske, meaning "to wear a mask", this album features a selection of over a hundred of the best of Galembo's masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo's photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century.

Pocket Images Buntingford

As a land artist Strijdom van der Merwe uses the materials provided by the chosen site. His sculptural forms take shape in relation to the landscape. It is a process of working with the natural world using sand, water, wood, rocks etc. He shapes these elements into geometrical forms that participate with their environment, continually changing until their final probable destruction. He observes the fragility of beauty while not lamenting its passing. What remains is a photographic image, a fragment of the imagination. While a visual record is materially all that is left, he also leaves us a reminder of the capacity, however feeble, of an individual to alter the universe by embracing the ceaseless changing of nature, actively contributing to it and in so doing, modulating and beautifying the outcome.

Jerusalem (which is called Yerushalayim in Hebrew) is a holy city to Jews, Christians, and Muslims as well as the capital of the modern State of Israel. Known as the city of gold due to the hue of its ancient walls at sunrise and sunset, it is a fascinatingly unique place where history rubs shoulders with modernity and where picturesque old neighborhoods nestle against glistening office towers and high-rise apartment buildings. It is one of those places that must be seen to be believed.Jerusalem Always introduces this fascinating city and its colorful mosaic of inhabitants to readers. A beautifully designed, lavishly illustrated album featuring over 140 full-color images, this large-format book is a moving journey into the heart of the Israeli capital and the daily life and festivals of its people and pilgrims. Marcelo Bendahan s photographs bring the awesome beauty of the city to life and offer revealing glimpses into various religions and cultures that thrive in Jerusalem. Many of the photographs were taken with a panoramic camera that allowed Bendahan to capture the vigor and diversity of Jerusalem s streets and alleys. The photographs are accompanied by an insightful, informative, and entertaining text that will engage the reader.Jerusalem Always begins by focusing on the religious sites that have attracted pilgrims for centuries and the modern city that has developed around them. The album then introduces readers to the city s diverse population, from dancers and clowns to merchants and models, from boys studying the holy scriptures and artisans at work to children at play and pilgrims on parade.Bilingual Text: English and Spanish

This beautifully designed book is a celebration of one of the world's most creative, dynamic and fascinating cities: Tokyo. It spans 400 years, with highlights including Kano school paintings; the iconic woodblock prints of Hiroshige; Tokyo Pop Art posters; the photography of Moriyama Daido and Ninagawa Mika; manga; film; and contemporary art by Murakami Takashi and Aida Makoto. Visually bold and richly detailed, this publication looks at a city which has undergone constant destruction and renewal and it tells the stories of the people who have made Tokyo so famous with their insatiable appetite for the new and innovative - from the samurai to avantgarde artists today. Co-edited by Japanese art specialists and curators Lena Fritsch and Clare Pollard from Oxford University, this accessible volume features 28 texts by international experts of Japanese culture, as well as original statements by influential artists.

There has never been and will never be another nightclub to rival the sheer glamour, energy, and wild creativity that was Studio 54. Now, in the first official book on the legendary club, co-owner Ian Schrager presents a spectacular volume brimming with star-studded photographs and personal stories from the greatest party of all time. From the moment it opened in 1977, Studio 54 celebrated spectacle and promised a never-ending parade of anything goes. Although it existed for only three years, it served as a catalyst that brought together some of the most famous and creative people in the world. It quickly became known for its celebrity guest list and uniquely chic clientele. From the cutting-edge lighting displays to its elaborate sets, it was the beginning of nightclub as performance art. Now, Studio 54 explores this cultural zeitgeist and gives us Schrager s personal firsthand account of what it was like to create and run the most famous nightclub of our age. With hundreds of photographs, many of which have never been seen before, of the celebrities and beautiful people and engaging stories and quotes from such cultural luminaries as Liza Minelli, David Geffen, Brooke Shields, Pat Cleveland, and Diane von Furstenberg, this exciting volume depicts the wild energy and glittering creativity of the era. One of the most important cultural landmarks of the twentieth century, Studio 54 continues to inspire with its legendary glamour. This exhilarating volume is a must-have for style and fashion aficionados today.

Villers-Bocage has, for years, been the battle that confirmed the reputation of Germany's greatest tank ace, Michael Wittmann. In this book the battle is analysed in depth for the first time through detailed examination of the images taken by war photographers after the town was captured by German forces. The claims made of the battle are re-appraised, and the arguments set out in dozens of published accounts have been compared with primary evidence never utilised before, and evaluated anew. Perhaps the two most striking revelations come from German sources. First, graphically, by the study of the 100 photographs taken by the Germans the day after the battle. Secondly, from Wittmann's own account which refutes many of the claims of historians attempting to glamorise the action.

The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal, if sometimes conflicted partnership, with the written word.
In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context, and engaging with the visual, tactile, and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook, from fetishized objet d'art to cheaply-printed booklet, is explored and its unique creative and cultural contributions celebrated.

A celebration of the cherished parts of Baltimore that are no longer Baltimore today is visited by millions of tourists who come to see the world-famous Inner Harbor, sample mouth-watering blue crabs, take in an Orioles game at legendary Camden Yards, or explore the many cultural and higher education institutions. Locals, meanwhile, enjoy living in a city that is large enough to provide great restaurants and plenty of special events, while it retains its small-town attitude that has earned it its "Charm City" nickname. However, many locals and tourists may not know that Baltimore was once a bustling port city where manufacturing, shipping, and shipbuilding dominated the industrial center of downtown Baltimore. "Lost Baltimore" features rarely published images of homes, buildings, industrial ports, and other commercial entities that have been razed, damaged, and significantly altered over the years, including the large estates of north Baltimore, Merchants' Exchange, Union Station, Electric Park, Rennert Hotel, Light Street Wharves, downtown theaters, Memorial Stadium, Hutzler's Department Store, and Bethlehem Steel. Also included are the devastating Great Baltimore Fire of 1904 and the iconic buildings that perished, such as the Baltimore & Ohio Railroad headquarters, the Sun Iron Building, and the News American Building. "Lost Baltimore" also covers important historical events that have shaped the physical landscape and societal fabric of Baltimore--the heartbreaking move by the Baltimore Colts in 1984, Baltimore's early dominance as the headquarters of national political conventions, Prohibition's effect on the German breweries, the city's changing industrial and commercial makeup, as well as some of the most recent hotly contested historical preservation battles. Open these pages and take a step back in time to reveal the Baltimore that once was.

"In the depths of winter, I finally learned that within me there lay an invincible summer." - Albert Camus The artistic direction of the festival - Tim Clark and Walter Guadagnini - maintains the poetic vocation of last year, taking inspiration for the theme of the 2022 edition from a phrase by the great French writer Albert Camus. At a time of great upheaval, a moment of transition and growth that follows numerous extraordinary hardships and crises that have now come to define our era, Camus's maxim gives us food for thought about the inner forces that drive us as individuals in what we do, in every moment of our lives. A principle that intends to shed light on another facet of human nature; the ability to push back against adversities, to not submit to momentary complications, and of course, courage, without neglecting to mention the ability to persist. The translation of these thematics into the language of photography, and, by natural extension, visual culture at large, focuses on the notion of resistance as well as the different potential reactions to the onset of a new reality. Texts by: Walter Guadagnini, Joan Fontcuberta, Jitka Hanzlova, Majoli, Mortarotti, Luis Cobelo, Fratelli Henkin, Anna Szkoda Text in English and Italian.

First published in 1982. Routledge is an imprint of Taylor & Francis, an informa company.

Baltimore has been home to hundreds of theaters since the first moving pictures flickered across muslin sheets. These monuments to popular culture, adorned with grandiose architectural flourishes, seemed an everlasting part of Baltimore's landscape. By 1950, when the city's population peaked, Baltimore's movie fans could choose from among 119 theaters. But by 2016, the number of cinemas had dwindled to only three. Today, many of the city's theaters are boarded up, even burned out, while others hang on with varying degrees of dignity as churches or stores. In Flickering Treasures, Amy Davis, an award-winning photojournalist for the Baltimore Sun, pairs vintage black-and-white images of opulent downtown movie palaces and modest neighborhood theaters with her own contemporary full-color photographs, inviting us to imagine Charm City's past as we confront today's neglected urban landscape. Punctuated by engaging stories and interviews with local moviegoers, theater owners, ushers, and cashiers, plus commentary from celebrated Baltimore filmmakers Barry Levinson and John Waters, the book brings each theater and decade vividly to life. From Electric Park, the Century, and the Hippodrome to the Royal, the Parkway, the Senator, and scores of other beloved venues, the book delves into Baltimore's history, including its troubling legacy of racial segregation. The descriptions of the technological and cultural changes that have shaped both American cities and the business of movie exhibition will trigger affectionate memories for many readers. A map and timeline reveal the one-time presence of movie houses in every corner of the city, and fact boxes include the years of operation, address, architect, and seating capacity for each of the 72 theaters profiled, along with a brief description of each theater's distinct character. Highlighting the emotional resonance of film and the loyalty of Baltimoreans to their neighborhoods, Flickering Treasures is a profound story of change, loss, and rebirth.