A study of how artists and photographers shaped imperial visions of war and peace in the Victorian period In an era that saw the birth of photography (c. 1839) and the rise of the illustrated press (c. 1842), the British experience of their empire became increasingly defined by the processes and products of image-making. Examining moments of military and diplomatic crisis, this book considers how artists and photographers operating "in the field" helped to define British visions of war and peace. The Victorians increasingly turned to visual spectacle to help them compose imperial sovereignty. The British Empire was thus rendered into a spectacle of "peace," from world's fairs to staged diplomatic rituals. Yet this occurred against a backdrop of incessant colonial war-campaigns which, far from being ignored, were in fact unprecedentedly visible within the cultural forms of Victorian society. Visual media thus shaped the contours of imperial statecraft and established many of the aesthetic and ethical frames within which the colonial violence was confronted. Distributed for the Paul Mellon Centre for Studies in British Art

David Levinthal, a central figure in the history of American postmodern photography, has staged uncanny tableaux using toys and miniature dioramas for nearly forty years. This publication for the first time assembles the artist's photography on the subject of war.

Levinthal's combat-related tableaux constitute a remarkable critique of the ways society experiences conflict through its portrayal. His groundbreaking project "Hitler Moves East" (1975-77), a series of imagined scenes from World War II's Russian front, first established his reputation, becoming a touchstone for the iconoclastic generation of American photographers that includes artists like Cindy Sherman and Richard Prince.
The book has a beautifully designed canvas hardcover with silkscreen print and a dust jacket

This book focuses on photography within the social research field, building a solid foundation for photography as a social research method and describing different techniques and applications of photo research. It provides a comprehensive approach to research photography, from preparation and the ethical considerations that need to be understood prior to going into the field, to collecting data, analysis and preparing research for publication. It also introduces artistic genres of photography to help readers with the choices they make when pursuing photographic research and as a reminder that when collecting photographs that they are in fact producing art. The ethical issues examined place a new focus on dignity and considerations of participant anonymity and recognition, informed consent, working with vulnerable groups, unequal power relationships and possible intervention. Combining preparation and ethics, it examines how best to collect and take good photographs, and explores the practical issues of stigma and introduces Verstaendnis (german: understanding) to aid researchers in the field. Subsequently, the book discusses the different photo-analytical approaches for researchers and provides examples of how to analyse photographs using the different techniques. Lastly, it offers guidelines, with examples, for researchers wanting to publish their work.

We tend to think of silence as the absence of sound, but it is actually the void where we can hear the sublime notes of nature. Here, photographer Pete McBride reveals the wonders of these hushed places in spectacular imagery from the thin-air flanks of Mount Everest to the depths of the Grand Canyon, from the high-altitude vistas of the Atacama to the African savannah, and from the Antarctic Peninsula to the flowing waters of the Ganges and Nile. These places remind us of the magic of being truly away and how such places are vanishing. Often showing beauty from vantages where no other photographer has ever stood, this is a seven-continent visual tour of global quietude and the power in nature s own sounds that will both inspire and calm.

Wild Light is a stunning panoramic exploration of the Scottish landscape by photographer Craig Aitchison, winner of the inaugural Scottish Landscape Photographer of the Year competition. Produced over seven years and shot entirely using a traditional Hasselblad film camera, this remarkable body of work captures the essence of the Scottish wilderness through the seasons and portrays the Highlands and Islands at their most beautiful. Featuring over eighty panoramas, this book celebrates the rich natural heritage, incredible geodiversity and varied landscape for which Scotland is internationally renowned. Among a glittering cast of many are the dramatic heights of Suilven, An Teallach and Aonach Eagach, and the otherworldly landscapes of the Lairig Ghru in the Cairngorms and Glen Etive. Craig Aitchison's Wild Light will delight anyone who treasures the Scottish mountain landscape.

Limited to only 150 copies, this is the deluxe edition of Telling Stories: Photographs of The Fall - the ultimate visual history of iconic band from renowned photographer Kevin Cummins, with a foreword by Poet Laureate Simon Armitage. 'No one has captured the look of alternative UK music over the past half a century more tellingly than Kevin Cummins.' - Simon Armitage 'Kevin Cummins is a true master in being able to capture the essence of music, the soul of the band. Whatever he does however he does it is a mystery to me but it's pure genius.' - Rankin 'Few photographers had such a close connection to The Fall as Manchester-based Kevin Cummins, and his new book, Telling Stories, is a rich visual history of one of the city's most beloved and enduring bands.' - Record Collector Magazine 'Kevin has the uncanny ability of capturing the inner mood of musicians. Be it the dynamics within a pensive Joy Division, or the sense surrounding the fledgeling Fall that something special was around the corner for us all. Kevin's book is nothing less than a remarkable document of a bewildering and defiant anti-fashion movement born in Prestwich, north Manchester in the grimy mid-70s.' - Marc Riley 'Capturing forty years of the band's career via his archive, the legendary photographer (whose recent book, Juvenes, documented the story of Joy Division) gives his take on the phenomenon of The Fall and the late, great Mark E. Smith.' - Vive le Rock Contains never-before-seen images. Foreword by Simon Armitage, Poet Laureate. From chaotic early gigs to their final years, NME photographer Kevin Cummins provides a definitive, unique perspective on cult favourites The Fall. In this stunning visual history spanning four decades, discover how and why they emerged as one of the most innovative, boundary-breaking bands in modern music. With a foreword by Poet Laureate and Fall fan Simon Armitage and an interview with Eleni Poulou, as well as never-before-seen images from Cummins' archive, this is the ultimate visual companion to The Fall.

They are among the most famous and compelling photographs ever made in archaeology: Howard Carter kneeling before the burial shrines of Tutankhamun; life-size statues of the boy king on guard beside a doorway, tantalizingly sealed, in his tomb; or a solid gold coffin still draped with flowers cut more than 3,300 years ago. Yet until now, no study has explored the ways in which photography helped mythologize the tomb of Tutankhamun, nor the role photography played in shaping archaeological methods and interpretations, both in and beyond the field. This book undertakes the first critical analysis of the photographic archive formed during the ten-year clearance of the tomb, and in doing so explores the interface between photography and archaeology at a pivotal time for both. Photographing Tutankhamun foregrounds photography as a material, technical, and social process in early 20th-century archaeology, in order to question how the photograph made and remade 'ancient Egypt' in the waning age of colonial order.

Barthes investigation into the meaning of photographs is a seminal work of twentieth-century critical theory. This is a special Vintage Design Edition, with fold-out cover and stunning photography throughout. Examining themes of presence and absence, these reflections on photography begin as an investigation into the nature of photographs - their content, their pull on the viewer, their intimacy. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind. He was grieving for his mother at the time of writing. Strikingly personal, yet one of the most important early academic works on photography, Camera Lucida remains essential reading for anyone interested in the power of images. 'Effortlessly, as if in passing, his reflections on photography raise questions and doubts which will permanently affect the vision of the reader' Guardian

Travels across the Roof of the World provides a sweeping yet intimate view of the breathtaking peaks, splendid valleys, and extraordinary people of this vast region, from the Pamir Mountains in Kyrgyzstan through Afghanistan's fabled Hindu Kush, the Karakoram in Pakistan, and the Great Himalaya Range that stretches across northern India, Nepal, Tibet, and Bhutan. Unique in scope among photo books on the Himalaya, Travels across the Roof of the World chronicles William and Anne Frej's more than twenty pilgrimages throughout the area spanning forty years and 3,000 miles through some of the world's most remote and difficult-to-reach country. Inspired by the devotion to the practice of Tibetan Buddhism they encountered in the villagers they met on their first trek to Nepal in 1981, they set out on a quest to document Asia’s highest peaks as well as the lives of the resilient people living in these remote mountain communities. When they began, trekkers from the West through these regions were few. Even now, trips are demanding - but not nearly as harsh as the daily lives of the residents, who continue to exist in a kind of stunning isolation that has allowed them to maintain the rich cultural traditions and spiritual practices that have sustained them over many centuries. Edwin Bernbaum’s essay adds to the depth of the pictures, with his focus on the symbolism, religious importance, and associated legends of these sacred places. The authors also share extensive vignettes about the places they saw and how they have changed over time.

This clear and challenging re-evaluation of the status and usage of photographic images in historical surrealism puts surrealism's fundamental issues back into the framework of its historical purpose and function. David Bate asks what a surrealist photograph actually is. He discusses automatism and the photographic image, the surrealist passion for insanity, their ambivalent use of Orientalism and adoption of Sadean philosophy and the effect of fascism on the surrealists. Locating the use of photography by surrealists within the cultural discourses of that historical moment, "Photography and Surrealism" is a genuinely original contribution to the field. The book is illustrated with a range of surrealist images.

David Busch's Sony Alpha a6400/ILCE-6400 Guide to Digital Photography is the most comprehensive reference and guide book available for Sony's advanced APS-C mirrorless camera. This enthusiast digital camera has a more powerful processor and upgraded autofocus with enhanced real-time tracking and advanced Eye AF. Its new LCD swivels to face forward, making the camera excellent for self-portraits, vlogging, and other applications. The a6400 features a 24 megapixel sensor with 425 embedded phase-detect pixels for lightning-fast autofocus at up to 11 frames per second. With an electronic shutter that provides a silent shooting option, stunning 4K/UHD video capabilities, and new time-lapse photography features, the a6400/ILCE-6400 is a versatile digital camera that's simple to use, yet boasts features demanded by the most avid photo buff. With this book in hand, you will discover all the capabilities of the Sony Alpha a6400/ILCE-6400 as you explore the world of digital photography, develop your creativity, and capture the best photographs you've ever taken. Filled with detailed how-to steps and full-color illustrations, David Busch's Sony Alpha a6400/ILCE-6400 Guide to Digital Photography describes every feature of this sophisticated camera in depth, from taking your first photos through advanced details of setup, exposure, lens selection, lighting, and more. It relates each feature to specific photographic techniques and situations. Also included is the handy camera "roadmap," an easy-to-use visual guide to the a6400/ILCE-6400's features and controls. Learn when to use every option and, more importantly, when not to use them, by following the author's recommended settings for every menu entry. With best-selling photographer and mentor David Busch as your guide, you'll quickly have full creative mastery of your camera's capabilities, whether you're shooting on the job, taking pictures as an advanced enthusiast pushing the limits of your imagination, or are just out for fun. Start building your knowledge and confidence, while bringing your vision to light with the Sony Alpha a6400/ILCE-6400.

'You Won't Be With Me Tomorrow' is a sequel to the narrative Harvey Benge developed in his 2013 book, 'Some Things You Should Have Told Me'. Both deal with the pain of relationship, the seeming inevitability of separation and the mistrust that is its consequence. Women drift, lost and hostile, throughout the pages - they're masked or veiled; they stare from behind bars - sometimes metal, sometimes frail as gauze, or turn away, eyes averted. They are beautiful but isolated - the time for reconciliation has long passed. This isolation is reinforced by a sense of eroticised cruelty - on one page, a woman plucks out her tongue, on another she thrusts it through a ghostlike paper mask, its tip counterpointed by a single red nail. Bodies are branded, bandaged, broken; they're both scarred and vulnerable. A vibrant red apple declares multiple allusions - beauty, knowledge, temptation, betrayal. Benge's visual vocabulary is typically elusive, but in 'You Won't Be With Me Tomorrow' he seems to examine a larger narrative. A young man is behind bars; a few pages later, stares at himself in a mirror in front of a closed door. A young boy puts his arm around a girl. They look beyond the frame at something troubling. And yet - within Benge's work, there is always unexpected beauty. Hope even. Amongst images of empty rotundas, retreating figures and vanishing planes, a closed door has panes of light, sunlight falls across a track. It's as if Benge, while chronicling the pain of connection, also suggests subtle ways forward: a wooden X beneath a bush may mean stop; it may also be a kiss.

Throughout a year, Magnum photographer, Chris Steele-Perkins photographed at Holkham Hall, a 23,000 acre estate set on the Norfolk coast with a history stretching back to the 1700s. He photographed not only the various activities there, from hunting and shooting through to concerts and weddings, but also the groups of workers that form the backbone of day to day life on the Estate. Holkham combines tradition with more contemporary activities such as pop and classical concerts, and businesses such as the rental and sale of holiday caravans. It was this mix of past and present, alongside the fact that the Hall was a lived-in family home, that most interested Steele-Perkins. For him the challenge was to look at the reality of Holkham, and explore where that reality overlapped with the cliches we cling to. Country estates bedevil the British imagination, and much of the rest of the world's too. Perhaps this is not surprising given that they feature in so many of our novels, historical films and TV dramas - Downton Abbey for example, or Kazuo Ishiguro's The Remains of the Day. The focus of these fictional accounts, however, is almost always resolutely fixed on the past, yet the estates themselves continue. They are institutions with both a past and a future. Whilst there are many photographic projects on country life - from hunting through to country house gardens or the art collections - there is very little that gives a rounder view of life on an estate. An estate is more than an old house, it is a farm, a business, an eco-system, a community, a venue, a confluence of history - a world in microcosm.

The Forth Rail Bridge is one of the world's great engineering feats, and one of its most well-known. When it opened in 1890, the cantilevered bridge had one of the world's longest spans, at 541 metres. Its distinctive and innovative design marks it as an important milestone in bridge construction during the period when railways came to dominate long-distance land travel. Spanning the estuary of one of the country's great rivers, the Forth Bridge revolutionised travel within Scotland, and it continues to carry and freight more than 130 years after its official opening. This view of the Forth Rail Bridge features the Gresley A4 Class Pacific Plover locomotive and was painted by Terence Cuneo (1907-1996) for British Railways in 1952. Cuneo withstood gales of over 50 mph as he sketched the scene from a girder above the track.

Written in the context of unprecedented dislocation and a global refugee crisis, this edited volume thinks through photography's long and complex relationship to human migration. While contemporary media images largely frame migration in terms of trauma, victimhood, and pity, so much more can be said of photography's role in the movement of people around the world. Cameras can document, enable, or control human movement across geographical, cultural, and political divides. Their operators put faces on forced and voluntary migrations, making visible hardships and suffering as well as opportunity and optimism. Photographers include migrating subjects who take pictures for their own consumption, not for international recognition. And photographs themselves migrate with their makers, subjects, and viewers, as the very concept of photography takes on new functions and meanings. Photography and Migration places into conversation media images and other photographs that the contributors have witnessed, collected, or created through their diverse national, regional, and local contexts. Developed across thirteen chapters, this conversation encompasses images, histories, and testimonies offering analysis of new perspectives on photography and migration today.

The Photography Cultures Reader: Representation, Agency and Identity engages with contemporary debates surrounding photographic cultures and practices from a variety of perspectives, providing insight and analysis for students and practitioners. With over 100 images included, the diverse essays in this collection explore key topics, such as: conflict and reportage; politics of race and gender; the family album; fashion, tourism and surveillance; art and archives; social media and the networked image. The collection brings together essays by leading experts, scholars and photographers, including Geoffrey Batchen, Elizabeth Edwards, Stuart Hall, bell hooks, Martha Langford, Lucy R. Lippard, Fred Ritchin, Allan Sekula and Val Williams. The depth and scope of this collection is testament to the cultural significance of photography and photographic study, with each themed section featuring an editor's introduction that sets the ideas and debates in context. Along with its companion volume - The Photography Reader: History and Theory - this is the most comprehensive introduction to photography and photographic criticism. Includes essays by: Jan Avgikos, Ariella Azoulay, David A. Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Gail Baylis, Karin E. Becker, John Berger, Lily Cho, Jane Collins, Douglas Crimp, Thierry de Duve, Karen de Perthuis, George Dimock, Sarah Edge, Elizabeth Edwards, Francis Frascina, Andre Gunthert, Stuart Hall, Elizabeth Hoak-Doering, Patricia Holland, bell hooks, Yasmin Ibrahim, Liam Kennedy, Annette Kuhn, Martha Langford, Ulrich Lehmann, Lucy R. Lippard, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Mette Mortensen, Fred Ritchin, Daniel Rubinstein, Allan Sekula, Sharon Sliwinski, Katrina Sluis, Jo Spence, Carol Squiers, Theopisti Stylianou-Lambert, Ariadne van de Ven, Liz Wells, Val Williams, Judith Williamson, Louise Wolthers and Ethan Zuckerman.