Most countries have been explored and documented extensively - Saudi Arabia isn't one of them. Still shrouded in mystery, the country and its inhabitants are relatively unknown to the rest of the world. Alex Schlacher travelled the entire Kingdom in search of people and culture and was enthusiastically welcomed by a nation eager to shine a light on its extraordinary citizens in a way that hadn't been done before. The West's view on Saudi Arabia is often narrow and impersonal, and media features tend to cover politics and the economy. Schlacher focused on the private lives of Saudis, and the result is a collection of portraits and stories of people living in a vast country steeped in history, a country on the cusp of change.

The Night Climbers of Cambridge, published in 1937, documents the nocturnal climbing exploits of a group of Cambridge students along the university's roofs and walls. In this interpretation, Thomas Mailaender presents archival photographs the climbers took of themselves in action.

Foreword by His Holiness the Dalai Lama. This beautiful book invites readers to experience the cultural-spiritual traditions of Tibet, Bhutan, Nepal, Sikkim, and Ladakh. The wisdom of the ancient teachings is transmitted in simple yet expressive language that is accessible to today's readers. Complementing and subtly echoing the teachings, Marcia Keegan's sensitive photos capture the unique qualities of these traditional Buddhist lands and cultures.

"I never know what I'm going to capture, it's all spontaneous and that's what I love the most. I often find myself walking the streets for hours and hours taking photos. Every image I capture is the result of a little flicker that happens to catch my eye in such an overwhelming way that it becomes impossible for me to simply ignore." ~ Lucy Hamidzadeh Lucy Hamidzadeh is a photographer and writer from south east London with a deep affection for unpredictable weather and the hustle and bustle of city life. Her early career was spent working for the Monarch Travel Group, where she spent 20 years honing her skill as a writer and developing her penchant for travel - and photography. Unfinished Stories is an extensive collection of photographs that capture the daily lives of people: on the streets, in trains and at cafes, going through their day, often without much thought or notice, but captured in an indelible way by Lucy's eye and camera. Their "unfinished stories" are the inspiration for her first solo book of words and pictures, making for a lasting glimpse at the fleeting moments she encounters on the streets of London.

"The Suffering of Light" is the first comprehensive monograph charting the career of acclaimed American photographer Alex Webb. Gathering some of his most iconic images, many of which were taken in the far corners of the earth, this exquisite book brings a fresh perspective to his extensive catalog. Recognized as a pioneer of American color photography since the 1970s, Webb has consistently created photographs characterized by intense color and light. His work, with its richly layered and complex composition, touches on multiple genres, including street photography, photojournalism, and fine art, but as Webb claims, "to me it all is photography. You have to go out and explore the world with a camera." Webb's ability to distill gesture, color and contrasting cultural tensions into single, beguiling frames results in evocative images that convey a sense of enigma, irony and humor. Featuring key works alongside previously unpublished photographs, "The Suffering of Light" provides the most thorough examination to date of this modern master's prolific, 30-year career.
The photographs of Alex Webb (born 1952) have appeared in a wide range of publications, including "The New York Times Magazine," "Life," "Stern" and "National Geographic," and have been exhibited at the International Center of Photography, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. He is a recipient of the Leica Medal of Excellence (2000) and the Premio Internacional de Fotografia Alcobendas (2009). A member of Magnum Photos since 1976, Webb lives in New York City.

"We must remember that in the brutality of battle another such apocalypse is always just around the corner." -Sebastiao Salgado In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein's troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory. As the desperate efforts to contain and extinguish the conflagration progressed, Sebastiao Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado's smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and environmental impact, Salgado captured the terrifying scale of this "huge theater the size of the planet": the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters. Salgado's epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

Dan Graham, one of America's most important contemporary artists, is best known today for his sculptural works and installations. His photographic works are generally not so well known, despite the fact that he first became famous for his photographic series, Homes for America, pictures of typical American suburbia in New Jersey. To this day the theme of architecture and its surfaces represents an extremely important facet of his work, as does the question of what role it plays in postmodern society and in the context of everyday culture. This publication presents new photographs by Dan Graham, taken in the context of a study trip with the architecture faculty of Columbia University, together with a selection of original photographs from the Homes for America series. The new images exhibit stark similarities to the old pictures, because they were taken in the same locations, in the same deserts of suburban streets and housing that Graham had photographed in the 1960s. This creates a fascinating reference system of repetitions and differences, in terms of both the temporal and the spatial, that asks questions of the viewer about architecture, public space, and their function in society.

William Klein (born 1928) is a photographer who has always moved against the current. A painter, filmmaker, graphic designer and fashion photographer, Klein grew up in New York but has been based in Paris since 1948. His shots are often intense and immediate, disrupting the established order of things and capturing fragmented snatches of distortion and movement. Although best known for his images of New York in the 1950s, he has also worked in other urban environments, including Tokyo and Moscow, as well as producing a striking series of painted contact sheets. Throughout his varied body of work, his insatiable desire to confront the chaos of the world shines through.

In extraordinary, life-affirming photos taken around the world-from developing villages to urban centers-over the last 40 years, a photographer makes the bold case that what unites us is more powerful than the borders that divide us. A portion of the proceeds for The Bonds We Share will benefit Doctors Without Borders. Hailed as "photography's new conscience," photographer and psychiatrist Dr. Glenn Losack has spent a lifetime traveling the world, determined to extend healing, hope, and compassion. With a camera in hand, he goes places that tourists rarely visit, including slums, alleys, and dark streets. He's seen struggle, but he's also seen our shared humanity: families playing together, laborers working, the devout praying to their gods. Dr. Losack has found resilience, joy, passion, and celebration in communities the world over, even in places plagued with corrupt government, poor infrastructure, and disease. The 240 captivating photos in The Bonds We Share, taken in India, the Dominican Republic, Bangladesh, Cambodia, Morocco, Peru, Tunisia, Sri Lanka, Egypt, the United States, Eastern Europe, and elsewhere, serve as a remarkable retrospective of Dr. Losack's work and reveal an essential truth: we may come from very different cultures, far-ranging geographic corners, belief systems, and economic circumstances, but we all share the same desire to work hard, raise families, and lead fulfilling lives. In this spectacular volume, Dr. Losack interrogates timely notions of difference and portrays the commonality of people from different cultures around the globe.

Charles Sheeler was the stark poet of the machine age. Photographer of the Ford Motor Company and founder of the painting movement Precisionism, he is remembered as a promoter of - and apologist for - the industrialised capitalist ethic. This major new rethink of one of the key figures of American modernism argues that Sheeler's true relationship to progress was in fact highly negative, his 'precisionism' both skewed and imprecise. Covering the entire oeuvre from photography to painting and drawing attention to the inconsistencies, curiosities and 'puzzles' embedded in Sheeler's work, Rawlinson reveals a profound critique of the processes of rationalisation and the conditions of modernity. The book argues finally for a re-evaluation of Sheeler's often dismissed late work which, it suggests, may only be understood through a radical shift in our understanding of the work of this prominent figure.

"What is it about a dull yellow metal that drives men to abandon their homes, sell their belongings and cross a continent in order to risk life, limbs and sanity for a dream?" - Sebastiao Salgado When Sebastiao Salgado was finally authorized to visit Serra Pelada in September 1986, having been blocked for six years by Brazil's military authorities, he was ill-prepared to take in the extraordinary spectacle that awaited him on this remote hilltop on the edge of the Amazon rainforest. Before him opened a vast hole, some 200 meters wide and deep, teeming with tens of thousands of barely-clothed men. Half of them carried sacks weighing up to 40 kilograms up wooden ladders, the others leaping down muddy slopes back into the cavernous maw. Their bodies and faces were the color of ochre, stained by the iron ore in the earth they had excavated. After gold was discovered in one of its streams in 1979, Serra Pelada evoked the long-promised El Dorado as the world's largest open-air gold mine, employing some 50,000 diggers in appalling conditions. Today, Brazil's wildest gold rush is merely the stuff of legend, kept alive by a few happy memories, many pained regrets-and Sebastiao Salgado's photographs. Color dominated the glossy pages of magazines when Salgado shot these images. Black and white was a risky path, but the Serra Pelada portfolio would mark a return to the grace of monochrome photography, following a tradition whose masters, from Edward Weston and Brassai to Robert Capa and Henri Cartier-Bresson, had defined the early and mid-20th century. When Salgado's images reached The New York Times Magazine, something extraordinary happened: there was complete silence. "In my entire career at The New York Times," recalled photo editor Peter Howe, "I never saw editors react to any set of pictures as they did to Serra Pelada." Today, with photography absorbed by the art world and digital manipulation, Salgado's portfolio holds a biblical quality and projects an immediacy that makes them vividly contemporary. The mine at Serra Pelada has been long closed, yet the intense drama of the gold rush leaps out of these images. This book gathers Salgado's complete Serra Pelada portfolio in museum-quality reproductions, accompanied by a foreword by the photographer and an essay by Alan Riding. Also available in a signed and limited Collector's Edition and as an Art Edition.

100 women bare all in an empowering collection of photographs and interviews about Womanhood. Vagina, vulva, lady garden, pussy, beaver, cunt, fanny... whatever you call it most women have no idea what's 'down there'. Culturally and personally, no body part inspires love and hate, fear and lust, worship and desecration in the same way. From smooth Barbie dolls to internet porn, girls and women grow up with a very narrow view of what they should look like, even though in reality there is an enormous range. Womanhood departs from the 'ideal vagina' and presents the gentle un-airbrushed truth, allowing us to understand and celebrate our diversity. For the first time, 100 brave and beautiful women reveal their bodies and stories on their own terms, talking about how they feel about pleasure, sex, pain, trauma, birth, motherhood, menstruation, menopause, gender, sexuality and simply being a woman.

Huffington Post called him "a master of the abandoned"-and for good reason. Take a strange and wonderful photographic journey into a world time has forgotten-amusement parks that have been shut down and overgrown. The "artivist" known only as Seph Lawless has spent the last ten years photo-documenting the America that was left behind in the throes of economic instability and overall decline-decrepit shopping malls, houses, factories, even amusement parks. Through nearly two hundred gorgeous and elegiac photographs, Abandoned details Lawless's journey into what was once the very heart of American entertainment: the amusement park. Here is includes: Disney World's Discovery Island and River Country Joyland Amusement Park Dogpatch USA Fun Spot Amusement Park and Zoo Bushkill Amusement Park Land of Oz Lake Shawnee Amusement Park Geauga Lake Amusement Park Spreepark Chippewa Lake Amusement Park Enchanted Forest Playland And more! Lawless visits deserted parks across the country, capturing in stark detail their dilapidated state, natural overgrowth, and obvious duality of sad and playful symbolism. Previously self-published as Bizarro, this updated edition of Lawless's photographic tribute to decaying American amusement parks contains new content and a new foreword.

See/Saw is an illuminating history of how photographs frame and change our perspectives. Starting from single images by the world's most important photographers - from Eugene Atget to Alex Webb - Geoff Dyer shows us how to read a photograph, as he takes us through a series of close readings that are by turns moving, funny, prescient and surprising. Following Dyer's previous books on photography, The Ongoing Moment and The Street Philosophy of Garry Winogrand, See/Saw brilliantly combines visual scrutiny and stylistic flair. It shows us how a photograph can simultaneously record and invent the world, and reveals a master seer at work. In the spirit of the intellectual curiosity of Berger, Sontag and Didion, Geoff Dyer helps us to see the world around us, and within us, afresh.

Terry O'Neill is one of the greatest living photographers today, with work displayed and exhibited at first-class museums and fine-art galleries worldwide. His iconic images of Frank Sinatra, The Beatles, Brigitte Bardot, Faye Dunaway, and David Bowie - to name but a few - are instantly recognisable across the globe. Now, for the first time, O'Neill selects a range of images from his extensive archive of "vintage prints", which will surprise and delight collectors and photography lovers alike. Long before the age of digital, photographers would send physical prints to the papers and magazines. These prints were passed around, handled by many, stamped on the back, and often times captioned. After use, the prints were either filed away, thrown out or - for the lucky few - sent back to the photographer or their photo agencies. At the dawn of the 1960s, when O'Neill's career began, physical prints were the norm. Terry kept as many as he could that were sent back to him. "I just kept everything," he says. "I don't know why. Back then, there wasn't really a reason to keep them. Photos were used straight away and then I just moved on to the next assignment. No one was thinking these would be worth anything down the line, let alone fifty years later." This book collects hundreds of these rare images, a true must for Terry's fans and photography collectors.

Among the significant projects of the last year of his life, Richard Avedon (1923-2004) completed a book of his photographs of women. Always transcending categorization-he was both a fashion photographer and known as a "poet of portraiture"-Avedon was interested in seeing how elemental facts of modern life and human existence were reflected in his work. And what could be more elemental than women, who have mesmerized artists across the centuries?Looking at his work in this way, Avedon was able to create an unparalleled view of women in his time, a tumultuous half century of rapidly changing social facts, cultural ideals, popular styles, and high fashion. As an artist, Avedon was deeply responsive to nuances of expression, gesture, and comportment, and his photographs unfailingly opened a window to the interior lives of his subjects. These ranged from celebrities (Marilyn Monroe), artists (Marguerite Duras, June Leaf), and high-fashion models (Suzy Parker, Dovima) to anonymous people that simply drew his attention. Like the best of art and literature, they evoke rich lives and complex experiences.An incisive essay by art historian Anne Hollander offers an overview of a half century of Avedon's images of women.