The definitive survey of contemporary photography of the human body. The body remains a battleground. Politicized, conceptualized and increasingly shared, our often-paradoxical relationship with the human form is nothing new, but finds itself heightened in the digitised, virtualised era of the 'post-industrial' body. No longer a tool but a work-in-progress, our bodily expectations bound from fantasy to reality, beauty to tyranny, art to commerce and curiosity to obsession, leaving us dreaming of other bodies and alternate lives. Surveying a range of over 360 photographic re-presentations from the worlds of art, fashion, scientific and vernacular photography - including the work of Nobuyoshi Araki, Bettina Rheims, Lauren Greenfield, Viviane Sassen, Cindy Sherman, Wolfgang Tillmans, Daido Moriyama, Sally Mann, Pieter Hugo and Juergen Teller, Solve Sundsbo and Daniel Sannwald - Body: The Photobook explores what our imaging of the human form, and the ways in which those images have been used and shared, might reflect of our relationship to the body. Supporting the broad range of photography is an essay by the psychologist Professor David Sander, who discusses the neurological representation of our own bodies.

Ansel Adams: 400 Photographs presents the full spectrum of Adams' work in a single volume for the first time, offering the largest available compilation from his legendary photographic career. Beautifully produced and presented in an attractive landscape trim, Ansel Adams: 400 Photographs will appeal to a general gift-book audience as well as Adams' legions of dedicated fans and students. The photographs are arranged chronologically into five major periods, from his first photographs made in Yosemite and the High Sierra in 1916 to his work in the National Parks in the 1940s up to his last important photographs from the 1960s. An introduction and brief essays on selected images provide information about Adams' life, document the evolution of his technique, and give voice to his artistic vision. Few artists of any era can claim to have produced four hundred images of lasting beauty and significance. It is a testament to Adams' vision and lifetime of hard work that a book of this scale can be compiled. Ansel Adams: 400 Photographs is a must-have for anyone who appreciates photography and the allure of the natural world.

An unrivalled icon of grace and femininity, Audrey Hepburn is perhaps the most beloved star in the history of cinema. She enchanted millions of people with the sweetness of her smile and her inimitable style and was able to renew her image throughout the decades, anticipating fashion trends and establishing a new ideal of beauty. This volume retraces Hepburn's incredible rise, from the early years to her worldwide fame. The book is divided into four sections: 'A Star is Born', which follows Audrey's first steps into the spotlight as a doe-eyed dancer; 'The Golden Age', how Audrey became the muse of Hubert de Givenchy and gave Hollywood a new ideal of elegance; 'A Diva's Style', which touches on Breakfast at Tiffany's, where Holly Golighty went down in the history of cinema with her sunglasses and little black dress, along with many others of Audrey's later film work; and 'Saving the Children'. This final section of the book puts great emphasis on her humanitarian work as UNICEF ambassador, on the side of all the children of the world. Both on screen and in real life, Audrey has remained faithful to the elegance of understatement and kindness, hidden behind her unforgettable smile.

As We Rise presents an exciting compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic. As Teju Cole describes in his preface, "Too often in the larger culture, we see images of Black people in attitudes of despair, pain, or brutal isolation. As We Rise gently refuses that. It is not that people are always in an attitude of celebration-no, that would be a reverse but corresponding falsehood-but rather that they are present as human beings, credible, fully engaged in their world." Drawn from Dr. Kenneth Montague's Wedge Collection in Toronto-a Black-owned collection dedicated to artists of African descent-As We Rise looks at the multifaceted ideas of Black life through the lenses of community, identity, and power. Artists such as Stan Douglas, LaToya Ruby Frazier, Barkley L. Hendricks, Texas Isaiah, Liz Johnson Artur, Seydou Keita, Deana Lawson, Jamel Shabazz, and Carrie Mae Weems, touch on themes of agency, beauty, joy, belonging, subjectivity, and self-representation. Writings by Isolde Brielmaier, Ugochukwu-Smooth C. Nzewi, Mark Sealy, Teka Selman, and Deborah Willis among others provide insight and commentary on this monumental collection.

For many hundreds of years Kazakh nomads have been grazing their livestock near the Altai Mountains in western Mongolia. The Altai Kazakhs are unique in their tradition of using golden eagles to hunt on horseback. The lifestyle of these hunters, known in Kazakh as burtkitshis, is changing rapidly, and over the last few years the award-winning photographer Palani Mohan has spent time with these men and their families, documenting a culture under threat. The special bond between a hunter and his eagle begins when the hunter takes an eagle pup from a nest high on the rock face. The pups are usually about four years old (a golden eagle can live to 30 years of age). It's important that the pup has learned to hunt and is not still dependent on her mother; but neither can she be too old nor experienced, or she will not learn to live with humans. The hunters take only female pups from the nest, as females are larger and more powerful and aggressive than the males. Adult female golden eagles can have a wingspan of up to 9 feet, and weigh over 15 pounds. The eagle pup gradually learns to accept food from the hunter, and once trust has been established, the hunter begins to train the bird. The hunters describe the eagle as part of their family. The eagle takes pride of place in the home most of the time except during the day in the summer months or the warmest part of the day in the winter months. While all the men in the family handle the eagle, only the man who took her from the nest hunts with her. Hunting takes place in winter, when temperatures can plummet to minus 40 degrees Farenheit. The birds are carried in swaddling, which the hunters claim keeps them both warm and calm. The strong bond between hunter and eagle is strengthened by the amount of time they spend together. Hunting trips can last many days, as the hunter and eagle trek up to a mountain ridge to obtain a good view across the landscape. Once the prey - usually a fox - is spotted, the hunter charges towards it to flush it into the open, then releases the eagle to make the kill. Hunters traditionally wear fur coats made from the skins of the prey their eagle has caught. The relationship between hunter and eagle typically lasts six to eight years, then the eagle is released back into the wild to breed. One hunter tells Mohan: 'You love them as your own, even when you set them free at the end.' In his book, which comprises an introductory essay and 90 dramatic duotone images, Mohan explains how the burkitshis are slowing dying out. Rather than endure the brutal winters, their children choose to move to the capital, Ulan Bator, for a better way of life. There are also fewer golden eagles in the Altai Mountains. Although the 'Golden Eagle Festival' takes place every October to showcase the ancient art of hunting with eagles, attracting tourists from across the world, there are only between 50 and 60 'true' hunters left. This book is therefore a timely, important record of these proud men and their magnificent eagles in a remote, unforgiving part of the planet.