Great photographs change the way we see the world. The Ongoing Moment changes the way we look at both. With characteristic perversity and trademark originality, The Ongoing Moment is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers, many of whom never met in their lives, constantly come into contact with each other. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

This volume explores the selfie not only as a specific photographic practice that is deeply rooted in digital culture, but also how it is understood in relation to other media of self-portrayal. Unlike the public debate about the dangers of 'selfie-narcissism', this anthology discusses what the practice of taking and sharing selfies can tell us about media culture today: can the selfie be critiqued as an image or rather as a social practice? What are the technological conditions of this form of vernacular photography? By gathering articles from the fields of media studies; art history; cultural studies; visual studies; philosophy; sociology and ethnography, this book provides a media archaeological perspective that highlights the relevance of the selfie as a stereotypical as well as creative practice of dealing with ourselves in relation to technology.

Move over, Man Ray, there are new collage artists in town! Match the contemporary works of 30 different artists and be inspired by the colourful and comprehensive card deck. The Collage Memory Game provides you with an insight into the broad art movement. Collage is a technique of art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. It allowed artists to engage with existing materials, to which they could assign new contexts in order to create a brand new artwork. Ranging from newspapers and magazines to maps, tickets, propaganda, photographs, ribbons, postage stamps, paint, text and found objects, the elements of collage participate in a handy creative process of putting artworks together and even breaking them apart, in an artistic exploration into the unknown. The origins of collage can be traced back hundreds of years, but this technique made a dramatic reappearance in the early 20th century as an art form of novelty.

Lodestars Anthology: Pathways contains 14 of the best and most carefully selected paths and trails that we have traversed. This book explores and details those pathways, the people, the landscapes and the fascinating things we discovered along the way. The journeys we take have a start and an end point, but we, in this book, want to relish the bit in between. So whether this is a mountain pass in the Italian Alps where we meet highland shepherds, or sprawling, urban grids with a bevy of restaurants and contemporary design, we want to inspire the reader to follow these paths and take precious moments to engage in everything possible through their senses. The book is a guide to these pathways, but goes beyond this to capture and document the lives of the people we meet, the challenges of the trip and the culture and landscapes we find that inspire us to keep on adventuring. 1 A collection of pathways from around the world captured through compelling narrative, high quality photography and key guide points. 2 Documenting how to travel and how to experience everything from the start the end of a journey. 3 The people we meet, the places we discover, the sights we see and the paths we took to discover them.

For over a century, the Pabean Market has been the centre of the spice trade in the agrarian Indonesian province of East Java. The sweet smell of spices filling the air; workers carrying baskets bursting with produce and seafood to the compact, cluttered shops lining the labyrinth of alleys the Pabean Market, is typical but in many ways unique for markets in Java. Pabean Market in Surabaya is a testament to Indonesian tolerance and diversity. In the century-old structure, thousands of shopkeepers of diverse ancestries: Javanese, Madurese, Chinese, Arab, conduct business in harmony and mutual cooperation. Anton Gautama spent a year roaming the labyrinth of narrow alleyways, seeking the heart and soul of the place he first visited as a young boy. His photographs depict the wonderfully dynamic and complex life of this thriving market, the natural beauty of the architecture, and, above all, the faces and dress of shopkeepers expressing their pride in maintaining a rich cultural heritage.

In her beautifully illustrated study, Patrizia Di Bello recaptures the rich history of women photographers and image collectors in nineteenth-century England. Situating the practice of collecting, exchanging and displaying photographs and other images in the context of feminine sociability, Di Bello shows that albums express Victorian women's experience of modernity. While attentive to the albums of individual women, Di Bello also examines the broader feminine culture of collecting and displaying images; uncovers the cross-references and fertilizations between women's albums and illustrated periodicals; and demonstrates the way albums and photography itself were represented in women's magazines, fashion plates, and popular novels. Bringing a sophisticated eye to overlooked images such as the family photograph, Di Bello not only illustrates their significance as historical documents but elucidates the visual rhetorics at play. In doing so, she identifies the connections between Victorian album-making and the work of modern-day amateurs and artists who use digital techniques to compile and decorate albums with Victorian-style borders and patterns.At a time when photographic album-making is being re-vitalised by digital technologies, this book rewrites the history of photographic albums, placing the female collector at its centre and offering an alternative history of photography focused on its uses rather than on its aesthetic or artistic considerations. Di Bello's book is remarkable in elegantly connecting the history of photography with the fields of material culture and women's studies.

Photography represents a medium in which the moment of death can be captured and preserved, the image becoming a mechanism through which audiences are beguiled by the certainty of their own mortality. Examining a spectrum of post-mortem images, Photography and Death considers various ways in which the death image has been framed and what these styles communicate about changing social attitudes related to dying, mourning and the afterlife. Presenting a fresh perspective on how we might view death photography in the context of our contemporary cultural milieu, this book brings together a range of historical examples to create a richer narrative of how we see, understand and discuss death in both the private and public forum. Building upon existing publications which relate explicitly to the study of death, dying and cultures of mourning, the book discusses topics such as post-mortem portraiture, the Civil War, Spiritualism and lynching. These are positioned alongside contemporary representations of death, as seen in celebrity death images and forensic photography. Uncovering an important historical contrast, in which modern notions of death are a comment on ownership or an emotionless, clinical state, Harris highlights the various ways that the deceased body is a site of contestation and fascination. An engaging read for students and researchers with an interest in death studies, this book represents a unique account of the various ways that attitudes about death have been shaped through the photographic image.

The Postmaster looked over my shoulder. As I turned to look I saw a flicker of movement from across the street. I felt unseen eyes peer at me. He walked away without another word. I watched as he climbed onto his bicycle and sped away down the street. I turned back and looked over my shoulder. Someone had been watching us. 1904. Thomas Bexley, one of the first forensic photographers, is called to the sleepy and remote Welsh village of Dinas Powys, several miles down the coast from the thriving port of Cardiff. A young girl by the name of Betsan Tilny has been found murdered in the woodland - her body bound and horribly burnt. But the crime scene appears to have been staged, and worse still: the locals are reluctant to help. As the strange case unfolds, Thomas senses a growing presence watching him, and try as he may, the villagers seem intent on keeping their secret. Then one night, in the grip of a fever, he develops the photographic plates from the crime scene in a makeshift darkroom in the cellar of his lodgings. There, he finds a face dimly visible in the photographs; a face hovering around the body of the dead girl - the face of Betsan Tilny.

From July 1943 to the Nazis' final defeat in May 1945 the Panther main battle tank and its variants were the mainstay of Germany's armoured forces. This superbly engineered fighting vehicle offered a lethal combination of firepower, mobility and protection. As this classic Images of War series title reveals, the Panther saw non-stop fighting on the Eastern, Western and Italian fronts. Using rare and often unpublished contemporary photographs with full captions and authoritative text, it provides a comprehensive coverage of elite Panther battalions in action. The book traces the development of the Panther, for example into tank hunter (Panzerjager), and also covers the other supporting vehicles that formed part of the Panther battalions' establishment. These included armoured recovery, Bergepanther, halftracks, Sd.kfz.2 Kettenrad, gun tractors and communications vehicles.

Shining in Absence, the twelfth issue of the journal AMC2, addresses the disappearance of photography both as an idea and as a material object. Images of torn, vacant photo albums, empty frames and mounting corners fill this poignant volume, allowing viewers to consider the absence of such vestiges in their own lives.

Indonesia is the country with the biggest fleet in the world; no other place on earth has more islands, boats, and ships. This book celebrates maritime Indonesia through the cooperation of a European photographer and several Indonesian writers, who complete stunning images with compelling poetry and stories. This book takes the reader on a quest along Javanese coast between Surabaya and Semarang and continued beyond Java, sailing to Sulawesi, where pinisi sailing schooners have been built for centuries. On every page, the romanticism of wind-powered travel evokes a past age when sail ruled the seas.

"Exploring for the very first time the hidden relationship between paintings and stereoscopic cards in Victorian times." The advent of a new painting by a great artist was big news in the 1850s, but few were able to access and enjoy directly the new works of art. Stereo cards, created by enterprising photographers of the day, reconstructed the scenes and gave an opportunity for the man in the street to enjoy these scenes, in magical life-like 3D. The Poor Man's Picture Gallery contains high-definition printed reproductions of well-known Victorian paintings in the Tate Gallery, and compares them with related stereo cards - photographs of scenes featuring real actors and models, staged to tell the same story as the corresponding paintings, all of which are the subject of an exhibition in the Tate Gallery in 2014.