This book argues that photography, with its inherent connection to the embodied material world and its ease of transmissibility, operates as an implicitly political medium. It makes the case that the right to see is fundamental to the right to be. Limning the paradoxical links between photography as a medium and the conditions of political, social, and epistemological disappearance, the book interprets works by African American, Indigenous American, Latinx, and Asian American photographers as acts of political activism in the contemporary idiom. Placing photographic praxis at the crux of 21st-century crises of political equity and sociality, the book uncovers the discursive visual movements through which photography enacts reappearances, bringing to visibility erased and elided histories in the Americas. Artists discussed in-depth include Shelley Niro, Carrie Mae Weems, Paula Luttringer, LaToya Ruby Frazier, Matika Wilbur, Martine Gutierrez, Ana Mendieta, An-My Le, and Rebecca Belmore. The book makes visible the American land as a site of contestation, an as-yet not fully recognized battlefield.

"Shooting Back caught my attention. Way to go, Jim Hubbard." --Oprah Winfrey

"Shooting Back is wonderful and should be supported in every way possible." --Hillary Rodham Clinton

"There is the photojournalism that is objective, and then there is the photojournalism that is purposefully provocative. Jim hubbard has found time to practice both." --The Washington Post

"Jim and Shooting Back gives ... us all hope." --Maria Shriver, NBC news

"His photos are powerful. His theme is strong and honest. Jim's faith story is compelling, enabled by the grace and love of God. There is a human joy. Jim Hubbard is a very special person, and I am proud to know him. --Martin Sheen

"Jim Hubbard's photos are a worthy continuation of the tradition of American documentary photography that has tried to give voice to the voiceless. Through his sensitivity we feel that these are people and not just a problem. --Peter Howe, director of photography, LIFE magazine

"Jim Hubbard reached a position which any photographer would envy. He has embarked on a task which is difficult and rarely lucrative. Jim spends his time in our ghettos, our poverty-filled streets. He is an artist photographing the poor, impoverished to heighten the public's awareness. Jim should serve as an example to us all." --US House of Representatives Majority Whip Tony Coelho, D-CA

"I was very moved and touched by your book. God has redeemed, is redeeming, the searing pain of your loss. Your story greatly encourages me." --Rankin Wilbourne, senior pastor, Pacific Crossroads Church, Santa Monica, California

Breathtaking photography of sea glass by Tommy Allen lures you into the new year in this 2021 wall calendar. Complete with facts and quotes on sea glass from the definitive guide, Pure Sea Glass by author Richard LaMotte, this is a year-long delight for the avid collector and the occasional beachcomber.

When the revolutionary technology of photography erupted in American culture in 1839, it swiftly became, in the day's parlance, a ""mania."" This richly illustrated book positions vernacular photography at the center of the study of nineteenth-century American religious life. As an empirical tool, photography captured many of the signal scenes of American life, from the gold rush to the bloody battlefields of the Civil War. But photographs did not simply display neutral records of people, places, and things; rather, commonplace photographs became inscribed with spiritual meaning, disclosing, not merely signifying, a power that lay beyond. Rachel McBride Lindsey demonstrates that what people beheld when they looked at a photograph had as much to do with what lay outside the frame - with theological expectations, for example - as with what the camera had recorded. Whether studio portraits tucked into Bibles, postmortem portraits with locks of hair attached, ""spirit"" photography, stereographs of the Holy Land, or magic lanterns used in biblical instruction, photographs were curated, beheld, displayed, and valued as physical artifacts that functioned both as relics and as icons of religious practice. Lindsey's interpretation of ""vernacular"" as an analytic introduces a way to consider anew the cultural, social, and material reach of religion.

Liberia, once a beacon of hope and safe haven for oppressed people everywhere, went into flames on Christmas Eve in 1989. Instead of people escaping suppression in other countries, running and seeking a refuge to call their new home, Liberians ran from hell fire seeking refuge outside their country.

This book, When Darkness Fall, tells the sad, shameful story of an ethnic and political blood bath that this once peaceful nation brought upon itself. Written and photographically illustrated by an icon of Liberian photography, Greg Stemn, the book is an exposition by a photojournalist who not only witnessed the events of this horrific war, but felt the pains and agonies it inflicted on the Liberian people.

"Masterpiece of Photography .... A cry for reconciliation and justice and peace ... What do you see?"

Picturing America: Photography and the Sense of Place argues that photography is a prevalent practice of making American places. Its collected essays epitomize not only how pictures situate us in a specific place, but also how they create a sense of such mutable place-worlds. Understanding photographs as prime sites of knowledge production and advocates of socio-political transformations, a transnational set of scholars reveals how images enact both our perception and conception of American environments. They investigate the power photography yields in shaping our ideas of self, nation, and empire, of private and public space, through urban, landscape, wasteland and portrait photography. The volume radically reconfigures how pictures alter the development of American places in the past, present, and future.

Andre Kertesz is one of four new titles being published in Autumn 2007 in Thames & Hudson's acclaimed 'Photofile' series. Each book brings together the best work of the world's greatest photographers in an attractive format and at an easily affordable price. Handsome and collectable, the books are printed to the highest standards. Each one contains some sixty full-page reproductions printed in superb duotone, together with a critical introduction and a full bibliography.