The winner of the 2017 Ernest Cole Award is Daylin Paul for his project, Broken Land. The project explores the other side of power. Set in Mpumalanga, home of 46% of South Africa's arable soil, it is also the area where nine power-burning coal stations are active. Paul's work explores the direct impact of fuel-burning coal stations on the local economy, population, farming community and, more broadly, climate change. As Paul says, "These power stations, while providing electricity for an energy-desperate South Africa, also have a devastating and lasting impact on the environment and the health of local people. Mining licences granted conditionally by the South African government are meant to safeguard the ecology and allow local people to benefit from the mineral wealth of the land. But it is clear that these conditions are not being followed and that the health and economic well-being of both the land and its people are being jeopardised. Vast tracts of fertile, arable land are being ripped up, the landscape scarred with the black pits of coal mines while coal-burning power stations are one of the biggest greenhouse gas emitters in the world." The polluting power stations not only contribute to global climate change but, through toxic sulphur effluents, also to the poisoning of scarce water supplies for a range of communities who are dependent on these for their survival. The area has in recent years also been hit by devastating droughts. The power dynamics in the area have in recent times been drawn into the national political arena. The former Glencore coal mines, taken over by Optimum Coal Holdings Limited, a conglomerate owned by the Gupta family, are embroiled in corruption and nepotism scandals that are affecting the very highest levels of the South African government. The aim of Paul's project as he says is "to look at both the macro issues like pollution, poverty and climate change while also personalising the experience of the local people who are on the front lines of this crisis and provide us with a glimpse of what the future could be like for the country and indeed the SADC region."

First published in 1967, Ernest Cole’s House of Bondage has been lauded as one of the most significant photobooks of the twentieth century, revealing the horrors of apartheid to the world for the first time and influencing generations of photographers around the globe.

Reissued for contemporary audiences, this edition adds a chapter of unpublished work found in a recently resurfaced cache of negatives and recontextualizes this pivotal book for our time.

Cole, a Black South African man, photographed the underbelly of apartheid in the 1950s and ’60s, often at great personal risk. He methodically captured the myriad forms of violence embedded in everyday life for the Black majority under the apartheid system—picturing its miners, its police, its hospitals, its schools. In 1966, Cole fled South Africa and smuggled out his negatives; House of Bondage was published the following year with his writings and first-person account.

This edition retains the powerful story of the original while adding new perspectives on Cole’s life and the legacy of House of Bondage. It also features an added chapter—compiled and titled “Black Ingenuity” by Cole—of never-before-seen photographs of Black creative expression and cultural activity taking place under apartheid.

Made available again nearly fifty-five years later, House of Bondage remains a visually powerful and politically incisive document of the apartheid era.

Chilean photographer Sergio Larrain (1931-2012) published very few books during his lifetime, but perhaps the most feted among them was Valparaiso. He photographed this Chilean seaport throughout his career, but it was in the early 1960s, when he returned to his homeland after travelling the world for many years as a Magnum photographer, that it became a focus for his attention. He saw it as 'a rather sordid yet romantic city', standing between the Andes and the Pacific Ocean, falling into a slow decline as its trading importance faded away, yet still retaining hints of beauty and magic. Now published in English for the first time with an introduction by Agnes Sire as well as a specially written text by Nobel laureate Pablo Neruda, this new edition of Valparaiso is based on a layout that Larrain designed in 1993, in response to the original French edition of 1991. It also includes a selection of previously unpublished photographs taken between 1952 and 1992, expanding the original 36 images to a total of 120. This intimate book features handwritten notes and texts by the artist himself, allowing us to share his singular vision of the world and its moments of grace.

Lee Miller's work for Vogue from 1941-1945 sets her apart as a photographer and writer of extraordinary ability. The quality of her photography from the period has long been recognized as outstanding, and its full range is shown here, accompanied by her brilliant despatches. Starting with her first report from a field hospital soon after D-Day, the despatches and nearly 160 photographs show war-ravaged cities, buildings and landscapes, but above all they portray the war-resilient people - soldiers, leaders, medics, evacuees, prisoners of war, the wounded, the villains and the heroes. There is the raw edge of combat portrayed at the siege of St Malo and in the bitterly fought Alsace campaign, and the disbelief and outrage Miller describes on witnessing the victims of Dachau. The war's horror is relieved by the spirit of post-liberation Paris, where she inudulged in frivoluous fashions and recorded memorable conversations with Picasso, Cocteau, Eluard, Aragon and Colette. The book ends with Miller's first-on-the-scene report giving a sardonic description of HItler's abandoned house in Munich, and the looting and burning of his alpine fortress at Berchtesgaden, which marked a symbolic end to the war. David E. Scherman, the renowned war photojournalist who shared many of Miller's assignments, contributes a foreword.

Guy Bourdin is one of four new titles being published this Spring 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. Hailed by The Times as 'finely produced', the books are printed to the highest standards. Each one contains some sixty full-page reproductions, together with a critical introduction and a full bibliography.

Photographer Otis Hairston's camera snapped nearly forty years of fond memories and historic Greensboro events- from community gatherings and North Carolina A&T Aggie homecomings to celebrations of the historic 1960 sit-in. This stunning photo collection depicts ordinary people, local heroes and national celebrities as it captures the strength of Greensboro s African American community. "Picturing Greensboro" is a landmark volume of spectacular images that will be cherished for years to come.

These discussions between legendary painter, film-maker, and poet Marcus Reichert and Edward Rozzo, professor of photographic semantics and visual culture and renowned professional photographer, are a revelation for their intimacy and honesty. Reflecting on subjects as diverse as technique, eroticism, spirituality, and the dictates of an increasingly powerful bureaucracy of galleries and museums, Reichert and Rozzo come to some startling and compelling conclusions. Generously illustrated in colour with works by such visionary artists as Antonin Artaud, Francis Bacon, Nan Goldin, and William Eggleston, ART & EGO is essential reading for anyone drawn to confessional writing of a disarming and amusing nature.

The career of a Fleet Street photographer can be made or stalled in an instant...the millisecond it takes for the camera shutter to capture an iconic image that speaks a thousand words or just yet another frame destined to be discarded on the darkroom floor. Stephen allows the photographs to speak for themselves but brilliantly lets us in on some of the circumstances, opportunities and fortune that framed the story behind the story. Charles Wilson Editor of The Times 1985-1990 Stephen Markeson is, undoubtedly, one of the legendary photojournalists of the golden era of Fleet Street and his lens a witness to the making of history. Ron Morgans Picture editor Daily Express 1967-73, Today 1985-93, Daily Mirror 1993-2000.

Eye-opening and candid, David Bailey's Look Again is a fantastically entertaining memoir by a true icon.

David Bailey burst onto the scene in 1960 with his revolutionary photographs for Vogue. Discarding the rigid rules of a previous generation of portrait and fashion photographers, he channelled the energy of London's newly informal street culture into his work. Funny, brutally honest and ferociously talented, he became as famous as his subjects.

Now in his eighties, he looks back on an outrageously eventful life. Born into an East End family, his dyslexia saw him written off as stupid at school. He hit a low point working as a debt collector until he discovered a passion for photography that would change everything. The working-class boy became an influential artist. Along the way he became friends with Mick Jagger, hung out with the Krays, got into bed with Andy Warhol and made the Queen laugh.

His love-life was never dull. He propelled girlfriend Jean Shrimpton to stardom, while her angry father threatened to shoot him. He married Catherine Deneuve a month after meeting her. Penelope Tree’s mother was unimpressed when he turned up on her doorstep. ‘It could be worse, I could be a Rolling Stone,’ Bailey told her. He went on to marry Marie Helvin and then Catherine Dyer, with whom he has three children.

He is also a film and documentary director, has shot numerous commercials and has never stopped working. A born storyteller, his autobiography is a memorable romp through an extraordinary career.

India, Living in an Ornate World explores as to why India is so rich in colour and ornamentation and why it has such a diversity of culture and architecture. There is still a large part of the population who prefer to continue living their traditional life in old-world settings. Their buildings reflect their long artistic and creative history. This can be seen in all levels of society. A modest dwelling in India can give as much an indication of this as can a palace. The lives of people in streets tend to be lived in public. The street is the extension of the house. A large part of this life is carried out on the streets and is often shared with many different animals due to the Hindu love of them. The photographs in this book aimed to catch many of these scenes.

This publication is made up of a series of photographs taken inside the abandoned Conservative Party headquarters at 32 Smith Square in London. Award-winning artist Lisa Barnard was granted access to the abandoned site in 2009 and documented the building and found objects. This book features previously unseen photos of the interior documenting the dulled shades of corporate blue, stained carpets, peeling paintwork and discarded iconography of past alliances.

Most unusually among major painters, Vincent van Gogh (1853-90) was also an accomplished writer. His letters provide both a unique self-portrait and a vivid picture of the contemporary cultural scene. Van Gogh emerges as a complex but captivating personality, struggling with utter integrity to fulfil his artistic destiny. This major new edition, which is based on an entirely new translation, reinstating a large number of passages omitted from earlier editions, is expressly designed to reveal his inner journey as much as the outward facts of his life. It includes complete letters wherever possible, linked with brief passages of connecting narrative and showing all the pen-and-ink sketches that originally went with them. Despite the familiar image of Van Gogh as an antisocial madman who died a martyr to his art, his troubled life was rich in friendships and generous passions. In his letters we discover the humanitarian and religious causes he embraced, his fascination with the French Revolution, his striving for God and for ethical ideals, his desperate courtship of his cousin, Kee Vos, and his largely unsuccessful search for love. All of this, suggests De Leeuw, demolishes some of the myths surrounding Van Gogh and his career but brings hint before us as a flesh-and-blood human being, an individual of immense pathos and spiritual depth. Perhaps even more moving, these letters illuminate his constant conflicts as a painter, torn between realism, symbolism and abstraction; between landscape and portraiture; between his desire to depict peasant life and the exciting diversions of the city; between his uncanny versatility as a sketcher and his ideal of the full-scale finished tableau. SinceVan Gogh received little feedback from the public, he wrote at length to friends, fellow artists and his family, above all to his brother Theo, the Parisian art dealer, who was his confidant and mainstay. Along with his intense powers of visual imagination, Vincent brought to the