What sort of a life do you make for yourself when there is no focus? How does your life pan out as you ride the vicissitudes of a dog eat dog, cut throat employment market? How do you chase your dreams into adulthood to find love, happiness and success, when you carry inside yourself a childhood, dejected, insecure, unstable and with what tiny morsel of confidence you possess - in tatters, because you've been at the mercy of a bullying control freak - your own father? I have survived so much mental anguish with confidence renewed following a difficult and painful education in Blackpool. After handwriting 100 letters, I landed my first job - cutting my teeth as a London-based portrait and wedding photographer in early summer 1986. A life on the ocean wave then beckoned, which turned me from nervous novice ship's photographer to expert smudger working aboard cruise liners worldwide. In 1990 I settled down, met the girl of my dreams and landed a fabulous job - Metropolitan Police Service forensic photographer. In the late 1990s I qualified as a Hendon-based instructor, leaving the police in 2004 to set up a business. If that wasn't enough, I then retrained as a medical photographer in 2008 and I'm now a medical photography manager working for Blackpool Teaching Hospitals NHS Foundation Trust. Both journey and path to success have been a miracle in the making.

An empowering, thought-provoking feminist novel that will change the way you see the world. Perfect for fans of Elizabeth Day, Claire Fuller and Joanna Cannon. 1968. Veronica Moon, a junior photographer for a local newspaper, is frustrated by her (male) colleagues' failure to take her seriously. And then she meets Leonie on the picket line of the Ford factory at Dagenham. So begins a tumultuous, passionate and intoxicating friendship. Leonie is ahead of her time and fighting for women's equality with everything she has. She offers Veronica an exciting, free life at the dawn of a great change. Fifty years later, Leonie is gone, and Veronica leads a reclusive life. Her groundbreaking career was cut short by one of the most famous photographs of the twentieth century. Now, that controversial picture hangs as the centrepiece of a new feminist exhibition curated by Leonie's niece. Long-repressed memories of Veronica's extraordinary life begin to stir. It's time to break her silence, and step back into the light. Praise for The Woman in the Photograph: 'Imaginative and moving novel - a must-read for any feminist' Katie Fforde 'I absolutely loved The Woman in the Photograph, a compelling,original and thought-provoking look at feminism and the power of female friendships' Sarah Franklin 'What a glorious combination: Stephanie's warm intelligence brought to bear on the complexities of second-wave feminism. I ate the book up' Shelley Harris 'Refreshing and thought-provoking . . . a stirring exploration of female friendship and the fight for equality' Carys Bray 'Brilliantly researched, thought-provoking, and written straight from the heart, this is undoubtedly Butland's best book yet' Lancashire Evening Post

The Encyclopedia of Nineteenth-Century Photography is the first comprehensive encyclopedia of world photography up to the beginning of the twentieth century. It sets out to be the standard, definitive reference work on the subject for years to come.

Its coverage is global an important first in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena.

Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being a solution in search of a problem when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century.

The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.

Kern does not ask his subjects to pose for him, nor does he direct them. He doesn't even contact or cast them. Rather, the subjects contact him, and pose for him in any way they are comfortable. They sometimes choose to be portrayed in the nude and they have full control of the way their bodies are photographed. Therefore, the work is a collaboration between the model and the photographer, as they both construct the image. This process plays out an interesting power dynamic, as the photographer is an older man and the subject is a young woman. Yet, by being seemingly opposed, the photographs are shaped by the male gaze, but simultaneously express the subjects' agency over their sexuality and their bodies. However, how far is the performance of these young women a true expression of their new-found sexuality? Or is that performance rather shaped by the patriarchy and influenced by the endless stream of pop culture on what it is to be a woman?

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The international contributors are drawn from disciplines including the history of photogarphy, visual anthropology and art history, and their pieces focus on areas ranging from the Netherlands, North America and Australia to Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images. Inspiring and instructive, the book can be used either as an overview of this exciting new area of investigation, or as a practical guide to the student or academic on how to understand photographs as objects in diverse contexts.

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.

Extreme Lakeland by Nadir Khan and Tom McNally is a stunning photographic celebration of all that makes the Lake District a magnet for those with a heart for adventure and who want to immerse themselves in the beauty of the hills and mountains of this jewel in the English landscape. From the crags of the high fells to the lakes and tarns for which the Lakes is famous, Nadir and Tom showcase incredible adventure sports through the seasons, including rock climbing, mountain biking, fell running, wild swimming, stand-up paddleboarding, base jumping and ski touring. Alongside a foreword by renowned rock climber Leo Houlding, and original illustrations by Anna Sharpe, there are inspirational literary contributions from wild swimmer Gilly McArthur, fell runner Ellis Bland, climbers Anna Taylor and Peter Goulding, and adventurer Jon Sparks. Extreme Lakeland is a visual feast for those that treasure the Lake District.

This book is for all who have wanted to capture the beauty of flowers in photographs, but felt they lacked the experience to succeed. With 215 vivid color photos of a wide range of flowers, professional photographer Lucian Niemeyer takes readers through the steps necessary to create artful color photographs, including the right choices of setting, lighting, color palette, and equipment, photographic techniques, and documentation and storage of the resulting images. He shows how flowers from the United States, Brazil, Africa, Bali, the Caribbean, Europe, and Canada were photographed in widely varied settings, under morning and evening skies. He shows various tones and moods that may be achieved when proper photographic techniques are applied.

This book examines the archival aesthetic of mourning and memory developed by Latin American artists and photographers between 1997-2016. Particular attention is paid to how photographs of the assassinated or disappeared political dissident of the 1970s and 1980s, as found in family albums and in official archives, were not only re-imagined as conduits for private mourning, but also became allegories of social trauma and the struggle against socio-political amnesia. Memorials, art installations, photo-essays, street projections, and documentary films are all considered as media for the reframing of these archival images from the era of the Cold War dictatorships in Argentina, Chile, Guatemala, and Uruguay. While the turn of the millennium was supposedly marked by "the end of history" and, with the advent of digital technologies, by "the end of photography," these works served to interrupt and hence, belie the dominant narrative on both counts. Indeed, the book's overarching contention is that the viewer's affective identification with distant suffering when engaging these artworks is equally interrupted: instead, the viewer is invited to apprehend memorial images as emblems of national and international histories of ideological struggle.