Situations of conflict offer special insights into the history of the interpreter figure, and specifically the part played in that history by photographic representations of interpreters. This book analyses photo postcards, snapshots and press photos from several historical periods of conflict, associated with different photographic technologies and habits of image consumption: the colonial period, the First and Second World War, and the Cold War. The book's methodological approach to the "framing" of the interpreter uses tools taken primarily from visual anthropology, sociology and visual syntax to analyse the imagery of the modern era of interpreting. By means of these interpretative frames, the contributions suggest that each culture, subculture or social group constructed its own representation of the interpreter figure through photography. The volume breaks new ground for image-based research in translation studies by examining photographic representations that reveal the interpreter as a socially constructed category. It locates the interpreter's mediating efforts at the core of the human sciences. This book will be of interest to researchers and advanced students in translation and interpreting studies, as well as to those working in visual studies, photography, anthropology and military/conflict studies.

Photography and architecture have a uniquely powerful resonance - architectural form provides the camera with the subject for some of its most compelling imagery, while photography profoundly influences how architecture is represented, imagined and produced. Camera Constructs is the first book to reflect critically on the varied interactions of the different practices by which photographers, artists, architects, theorists and historians engage with the relationship of the camera to architecture, the city and the evolution of Modernism. The title thus on the one hand opposes the medium of photography and the materiality of construction - but on the other can be read as saying that the camera invariably constructs what it depicts: the photograph is not a simple representation of an external reality, but constructs its own meanings and reconstructs its subjects. Twenty-three essays by a wide range of historians and theorists are grouped under the themes of 'Modernism and the Published Photograph', 'Architecture and the City Re-imagined', 'Interpretative Constructs' and 'Photography in Design Practices.' They are preceded by an Introduction that comprehensively outlines the subject and elaborates on the diverse historical and theoretical contexts of the authors' approaches. Camera Constructs provides a rich and highly original analysis of the relationship of photography to built form from the early modern period to the present day.

In recent years Russian cities have visibly changed. The architectural heritage of the Soviet period has not been fully acknowledged. As a result many unique modernist buildings have been destroyed or changed beyond recognition. Russian photographer Arseniy Kotov intends to document these buildings and their surroundings before they are lost forever. He likes to take pictures in winter, during the 'blue hour', which occurs immediately after sunset or just before sunrise. At this time, the warm yellow colours inside apartment block windows contrast with the twilight gloom outside. To Kotov, this atmosphere reflects the Soviet period of his imagination. His impression of this time is unashamedly idealistic: he envisages a great civilization, built on a fair society, which hopes to explore nature and conquer space. From the Baikonur Cosmodrome in the desert steppes of Kazakhstan to the grim monolithic high-rise dormitory blocks of inner city Volgograd, Kotov captures the essence of the post-Soviet world. 'The USSR no longer exists and in these photographs we can see what remains - the most outstanding buildings and constructions, where Soviet people lived and how Soviet cities once looked: no decoration, no bright colours and no luxury, only bare concrete and powerful forms.'

There are countless books on war photography, most of these focusing on dramatic images made by photojournalists in combat zones. Photography and War instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices and viewpoints. Pippa Oldfied considers photography's fundamental role in military reconnaissance, propaganda and protest, exposure of war crimes, and the memorialisation of war, among other themes. While iconic images by well-known names such as Roger Fenton and Robert Capa are included, the viewpoints of people who have historically been overlooked - women and photographers from diasporic and non-Western backgrounds - are forcefully present. As a result, this book offers a nuanced and more inclusive understanding of war as a far-reaching undertaking in which anyone might be implicated and affected. Richly illustrated, with some photos published for the first time, this book offers an accessible and well-rounded introduction to photography's perhaps most contested, complex and emotive subject.

Formerly a British colony, the island of Cyprus is now a divided country, where histories of political and cultural conflicts, as well as competing identities, are still contested. Cyprus provides the ideal case study for this innovative exploration, extensively illustrated, of how the practice of photography in relation to its political, cultural and economic contexts both contributes and responds to the formation of identity. Contributors from Cyprus, Greece, the UK and the USA, representing diverse disciplines, draw from photography theory, art history, anthropology and sociology to explore how the island and its people have been represented photographically. They reveal how the different gazes- colonial, political, gendered, and within art photography- contribute to the creation of individual and national identities and, by extension, to the creation and re-creation of imagery of Cyprus as place. While Photography and Cyprus focuses on one geographical and cultural territory, the questions this book asks and the themes and arguments it follows apply also to other places characterized by their colonial heritage. The intriguing example of Cyprus thus serves as a fitting test-ground for current debates relating to photography, place and identity.

Birds' eggs are true wonders of the natural world: they are strong enough to protect the embryo as it grows and to withstand incubation by the parent, yet sufficiently fragile to allow the chick to hatch. Little wonder that the enormous diversity of avian eggs - the amazing range of shapes, sizes, colours, textures and patterns - has long fascinated us. Since boyhood, the renowned landscape photographer Colin Prior has had a passion for wild birds. For him, birds are the embodiment of nature, and fundamentally enrich the experience of being outdoors. This stunning new book presents Prior's remarkable images of birds' eggs side by side with his dramatic photographs of the birds' natural habitats. At a time when many human influences are having an adverse impact on the environment, these habitats are equally fragile and vulnerable to change. Loss of habitat is, in turn, a major factor in the decline of wild bird populations. It has been illegal to take any birds' eggs from the wild in Great Britain since 1954, and since 1982 it has been against the law to possess the egg of any wild bird. The eggs featured in this book belong to the National Museum of Scotland in Edinburgh, which holds one of the world's largest collections of birds' eggs. The eggs were collected legally during the late 19th and early 20th centuries and bequeathed to the museum by private collectors. Prior set up a studio at the museum and spent five weeks photographing more than 300 eggs using the latest digital technology. Each photograph is a compilation of between 40 and 80 separate exposures that were then blended into a single image using specialist software. The final image is an exquisite, almost three-dimensional rendition of the egg, pin-sharp from the front to the back. The eggs vary in size from that of the tiny goldcrest, the UK's smallest bird, to that of the mute swan. In his introduction, Prior describes how his love of the natural world was nurtured by the endless hours he spent in the countryside around the Glasgow suburb where he grew up; how he overcame the technical challenges of photographing the eggs; how the featured eggs were selected from the museum's collection; and how the photography of each bird's habitat was completed. In his essay, the Scottish environmentalist Professor Des Thompson reflects on the state of nature and the relationship between nesting and habitats. In the main part of the book, the birds' eggs are arranged into chapters according to the species found in a particular habitat, such as 'Mountain and Moorland' and 'Seashore and Estuary'. The caption beneath each egg details the common and scientific name of the bird, the date the egg was collected, the size of the clutch, and the egg's dimensions. Each egg is presented in a diptych with a photograph of the bird's habitat, painstakingly captured at a time of year when the dominant colours of the landscape most closely resemble those of the egg. Fragile - the culmination of ten years' work - not only showcases the inherent beauty of birds' eggs, but also serves as a powerful reminder to protect the birds' natural habitats and thereby the birds themselves.

Susan Sontag’s 1997 text, On Photography, brought photographic theory into the university classroom with its staunch defence of the medium as art and inspired a new wave of Marxist Criticism in the field. Sontag explains the way in which we are addicted to images and depend on them for knowledge of our surroundings and the problems and challenges this causes. Already an established academic figure, Sontag brought Walter Benjamin’s theories in into the academic mainstream. The book retains its relevance in the everyday world because of the applicability of its ideas to the world of digital photography.

Why do photographs interest writers, especially autobiographical writers? Ever since their invention, photographs have featured - as metaphors, as absent inspirations, and latterly as actual objects - in written texts. In autobiographical texts, their presence has raised particularly acute questions about the rivalry between these two media, their relationship to the 'real', and the nature of the constructed self. In this timely study, based on the most recent developments in the fields of photography theory, self-writing and photo-biography, Akane Kawakami offers an intriguing narrative which runs from texts containing metaphorical photographs through ekphrastic works to phototexts. Her choice of Marcel Proust, Herve Guibert, Annie Ernaux and Gerard Mace provides unusual readings of works seldom considered in this context, and teases out surprising similarities between unexpected conjunctions.

Pulitzer Prize-winning photographer James Hill of the "New York Times" chooses fifty of his photographs and describes the stories and emotions behind those pictures and the artistic and emotional choices shaped during the intense kaleidoscope of those experiences. From the invasion of Iraq in 2003, to the Royal Wedding in 2011, to taking the first portrait of the notorious arms dealer Viktor Bout, to the death of Pope John Paul II, Hill has witnessed some of recent history's most poignant moments, and describes the fine balance demanded of a photojournalist between professional detachment and personal engagement.

Charlottesville, Virginia, and surrounding Albemarle County are visited through 296 vintage postcards. Stroll the grounds and buildings of the University of Virginia, one of America's premier universities. Walk the streets of Charlottesville to patronize her businesses and experience the hotels of yesteryear. Visit historic Michie Tavern, Thomas Jefferson's Monticello, and James Monroe's Ash Lawn. Finally, experience Scottsville on the James River and smaller villages that make Albemarle County unique.

A SUNDAY TIMES BESTSELLER Stranger Than Kindness is a journey in images and words into the creative world of musician, storyteller and cultural icon Nick Cave. This highly collectable book invites the reader into the innermost core of the creative process and paves the way for an entirely new and intimate meeting with the artist, presenting Cave's life, work and inspiration and exploring his many real and imagined universes. It features full colour reproductions of original artwork, handwritten lyrics, photographs and collected personal artefacts along with commentary and meditations from Nick Cave, Janine Barrand and Darcey Steinke. Stranger Than Kindness asks what shapes our lives and makes us who we are, and celebrates the curiosity and power of the creative spirit. The book has been developed and curated by Nick Cave in collaboration with Christina Back. The images were selected from 'Stranger Than Kindness: The Nick Cave Exhibition', opening at the Royal Danish Library in Copenhagen in June 2020.

Surrealism and Photography in Czechoslovakia: On the Needles of Days sheds much-needed light on the location of the greatest concentration of Surrealist photography and examines the culture and tradition within which it has taken root and flourished. The volume explores a rich and important artistic output, very little of which has been seen outside of its land of origin. Based on extensive research at museums in Prague and Brno and many conversations with participants in and historians of the movement, Krzysztof Fijalkowski, Michael Richardson and Ian Walker analyse how this photographic work has developed cohesively and rigorously, from the beginnings of Czech Surrealism in 1934, to the intriguing researches of the present-day Czech and Slovak Surrealist group by way of mysterious veiled responses to the repressive contexts with which they were faced from the 1950s to the 1980s. The main chapters, ordered chronologically, are intersected with shorter texts examining specific works. The reader will find in this volume images that present challenges to our understanding of how photographic work has been used within surrealism, pinpointing individual pictures whose dynamic charge may induce instants of compelling interrogation and disruption.

THE TIMES TOP 10 BESTSELLER A GUARDIAN, TELEGRAPH, THE TIMES, IRISH TIMES, SUNDAY EXPRESS, ROUGH TRADE, MOJO, CLASH, ROLLING STONE, UNCUT BOOK OF THE YEAR From award-winning musician and composer Warren Ellis comes the unexpected and inspiring story of a piece of chewing gum. FEATURING AN INTRODUCTION BY NICK CAVE I hadn't opened the towel that contained her gum since 2013. The last person to touch it was Nina Simone, her saliva and fingerprints unsullied. The idea that it was still in her towel was something I had drawn strength from. I thought each time I opened it some of Nina Simone's spirit would vanish. In many ways that thought was more important than the gum itself. On Thursday 1 July, 1999, Dr Nina Simone gave a rare performance as part of Nick Cave's Meltdown Festival. After the show, in a state of awe, Warren Ellis crept onto the stage, took Dr Simone's piece of chewed gum from the piano, wrapped it in her stage towel and put it in a Tower Records bag. The gum remained with him for twenty years; a sacred totem, his creative muse, a conduit that would eventually take Ellis back to his childhood and his relationship with found objects, growing in significance with every passing year. Nina Simone's Gum is about how something so small can form beautiful connections between people. It is a story about the meaning we place on things, on experiences, and how they become imbued with spirituality. It is a celebration of artistic process, friendship, understanding and love. 'The year's most eccentric and joyful musical memoir.' DAILY TELEGRAPH (Books of the Year) 'A meditation on art and value, connection and collaboration [...] Fantastic.' THE TIMES (Books of the Year) 'One of the most strange, illuminating and wonderful 'music' books ever.' MOJO (Books of the Year)

The Routledge Companion to Photography and Visual Culture is a seminal reference source for the ever-changing field of photography. Comprising an impressive range of essays written by experts and scholars from across the globe, this book examines the medium's history, its central issues and emerging trends, and its much-discussed future. The essays explore the current debates surrounding the photograph as object, art, document, propaganda, truth, selling tool, and universal language; the perception of photography archives as burdens, rather than treasures; the continual technological development reshaping the field; photography as a tool of representation and control, and more, in this time of unprecedented image consumerism.

Photographs display attitudes, agency and vision in the way cities are documented and imagined. Cities and Photography explores the relationship between people and the city, visualized in photographs. It provides a visually focused examination of the city and urbanism for a range of different disciplines: across the social sciences and humanities, photography and fine art.

This text offers different perspectives from which to view social, political and cultural ideas about the city and urbanism, through both verbal discussion and photographic representation. It provides introductions to theoretical conceptions of the city that are useful to photographers addressing urban issues, as well as discussing themes that have preoccupied photographers and informed cultural issues central to a discussion of city. This text interprets the city as a spatial network that we inhabit on different conceptual, psychological and physical levels, and gives emphasis to how people operate within, relate to, and activate the city via construction, habitation and disruption. Cities and Photography aims to demonstrate the potential of photography as a contributor to commentary and analytical frameworks: what does photography as a medium provide for a vision of city and what can photographs tell us about cities, histories, attitudes and ideas?

This introductory text is richly illustrated with case studies and over 50 photographs, summarizing complex theory and analysis with application to specific examples. Emphasis is given to international, contemporary photographic projects to provide provide focus for the discussion of theoretical conceptions of the city through the analysis of photographic interpretation and commentary. This text will be of great appeal to those interested in Photography, Urban Studies and Human Geography.

Using a combination of artistic approach and impeccable technique, professional photographers John and Barbara Gerlach guide you through the field as you photograph intriguing and captivating subjects out in the wild. Learn how to integrate equipment with technique to capture superb wildlife images of birds, mammals, amphibians, and more, with an emphasis on precision and speed. This book includes all of the details you need to capture wildlife photos easily and consistently - choose the right lens and best lighting while following simple composition guidelines that are perfect for wildlife. John and Barbara Gerlach have taken more than a million wildlife images since 1978 and run seminars and workshops all over the world. Their pictures have been published in Outdoor Photographer, Audubon, Popular Photography National Wildlife, Sierra, Natural History, Petersen's Photographic, Ranger Rick, Birder's World, as well as books published by National Geographic Society, Sierra Club and others.