It has been almost a generation since Sebastiao Salgado first published Exodus but the story it tells, of fraught human movement around the globe, has changed little in 16 years. The push and pull factors may shift, the nexus of conflict relocates from Rwanda to Syria, but the people who leave their homes tell the same tale: deprivation, hardship, and glimmers of hope, plotted along a journey of great psychological, as well as physical, toil. Salgado spent six years with migrant peoples, visiting more than 35 countries to document displacement on the road, in camps, and in overcrowded city slums where new arrivals often end up. His project includes Latin Americans entering the United States, Jews leaving the former Soviet Union, Kosovars fleeing into Albania, the Hutu refugees of Rwanda, as well as the first "boat people" of Arabs and sub-Saharan Africans trying to reach Europe across the Mediterranean ea. His images feature those who know where they are going and those who are simply in flight, relieved to be alive and uninjured enough to run. The faces he meets present dignity and compassion in the most bitter of circumstances, but also the many ravaged marks of violence, hatred, and greed. With his particular eye for detail and motion, Salgado captures the heart-stopping moments of migratory movement, as much as the mass flux. There are laden trucks, crowded boats, and camps stretched out to a clouded horizon, and then there is the small, bandaged leg; the fingerprint on a page; the interview with a border guard; the bundle and baby clutched to a mother's breast. Insisting on the scale of the migrant phenomenon, Salgado also asserts, with characteristic humanism, the personal story within the overwhelming numbers. Against the indistinct faces of televised footage or the crowds caught beneath a newspaper headline, what we find here are portraits of individual identities, even in the abyss of a lost land, home, and, often, loved ones. At the same time, Salgado also declares the commonality of the migrant situation as a shared, global experience. He summons his viewers not simply as spectators of the refugee and exile suffering, but as actors in the social, political, economic, and environmental shifts which contribute to the migratory phenomenon. As the boats bobbing up on the Greek and Italian coastline bring migration home to Europe like no mass movement since the Second World War, Exodus cries out not only for our heightened awareness but also for responsibility and engagement. In face of the scarred bodies, the hundreds of bare feet on hot tarmac, our imperative is not to look on in compassion, but, in Salgado's own words, to temper our behaviors in a "new regimen of coexistence."

Now available in a paperback edition, LaToya Ruby Frazier's award-winning first book, The Notion of Family, offers an incisive exploration of the legacy of racism and economic decline in America's small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political-an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations-her Grandma Ruby, her mother, and herself-against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock's only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family, and her mother in particular. In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives-both those of her family and of the community at large.

For more than two decades, legendary British photographer David Yarrow has created evocative photography of some of the world s most iconic personalities, sporting moments, and endangered wildlife. With his images raising huge sums for charity, he is one of the most relevant and best-selling photographers in the world today. This stunning volume is a retrospective of Yarrow s storytelling work, which has earned him wide acclaim in the fine-art market. This assemblage of truly unmatched work brings the magic and brilliance of the big screen to each singular image. Inspired by the great cinematic directors, Yarrow tells stories from the Wild West to the pirates of the Caribbean, the coasts of Alaska to the plains of Africa, Manhattan to an old saloon in Montana. Whether poignant, dramatic, or provocative, they are always epic. Offering additional insight are behind-the-scenes photos and Yarrow s own first-person contextual narratives. The book features a mix of more than 150 yet-to-be-published and already iconic photographs, including work from assignments with some of the biggest names and brands in fashion, sports, and culture, like Cindy Crawford, Cara Delevingne, Russell Wilson, Ciara, and Alessandra Ambrosio.

Following a run of New Year's concerts at San Francisco's legendary Fillmore, Patti Smith finds herself tramping the coast of Santa Cruz, about to embark on a year of solitary wandering. Unfettered by logic or time, she draws us into her private wonderland, with no design yet heeding signs, including a talking sign that looms above her, prodding and sparring like the Cheshire Cat. In February, a surreal lunar year begins, bringing with it unexpected turns, heightened mischief, and inescapable sorrow. In a stranger's words, "Anything is possible: after all, it's the year of the monkey." For Patti Smith - inveterately curious, always exploring, tracking thoughts, writing the year evolves as one of reckoning with the changes in life's gyre: with loss, aging, and a dramatic shift in the political landscape of America.

Smith melds the Western landscape with her own dreamscape. Taking us from Southern California to the Arizona desert; to a Kentucky farm as the amanuensis of a friend in crisis; to the hospital room of a valued mentor; and by turns to remembered and imagined places - this haunting memoir blends fact and fiction with poetic mastery. The unexpected happens; grief and disillusionment. But as Patti Smith heads toward a new decade in her own life, she offers this balm to the reader: her wisdom, wit, gimlet eye, and above all, a rugged hope of a better world.

Riveting, elegant, often humorous, illustrated by Smith's signature Polaroids, Year of the Monkey is a moving and original work, a touchstone for our turbulent times.

Since the invention of photography in the nineteenth century, Africa has been defined largely by Western images of its cultures and traditions. From the colonial carte de visite and ethnographic archive to the rise of studio portraiture and social documents of racial surveillance, the fraught relationship between Africa and the photographic lens has become inseparable from the discourses of post-colonialism. Challenging these dominant images of exoticism and otherness, this book illustrates how photography has allowed artists to reimagine African histories through the lens of the present, to shape our understanding of the contemporary realities we face. Bringing together a diverse range of artists and thinkers to present varied perspectives on issues such as cultural heritage and restitution, spirituality, urbanism and climate change, it reveals how innovative contemporary photography challenges perceptions of history, culture and identity.

"Doyle's modesty of language conceals a profound tolerance of the human complexity"-John Le Carre "Every Writer owes something to Holmes." -T.S. Eliot While the controversy of Psychic Photography was gripping the early 20th Century United Kingdom, Sir Arthur Conan Doyle set out to investigate the most notable cases. In The Case for Spirit Photography, he aimed to defend the validity of capturing images of spirits with a camera. The spectacle of spirit photography had become popular in the late 19th Century, but by the 1920's The Crewe Circle, an infamous English spiritualist group had become the center of a national controversy attacking spirit photography as a hoax. Doyle, a leader of the Spiritualist movement, wrote this investigation in defense of the group, and conjointly looks at other cases of supernatural incidences. As we face current public figures dismissive of empirical scientific evidence, this is a fascinating look at the intrigue of conviction. As the writer of one of fictions most colorful and abiding detectives, Doyle's deductions in The Case for Spirit Photography are enthralling. With an eye-catching new cover, and professionally typeset manuscript, this edition of The Case is both modern and readable.

A new collection from the award-winning Magnum photographer. A master of colour-saturated images, Harry Gruyaert has roamed the world searching for the perfect light for more than forty years. His very intuitive and physical sense of place immerses the spectator in a world that borrows simultaneously from the cinematic universe and from that of the painter. Dissolving the boundaries between the exterior and interior, Between Worlds offers just such a sensory immersion. No matter the setting, the country or the era, Gruyaert deploys a luminous alchemy suspended in time. Where are we? It doesn’t matter: in Gruyaert’s world, the pleasure of getting lost reigns.

Tower Bridge is one of the most famous bridges in the world. Designed by Sir Horace Jones (1819–1887) and engineer Sir John Wolfe Barry (1836–1918) over a period of eight years, it was the largest and most advanced bascule bridge ever completed when it opened in 1894, requiring 11,000 tons of steel and involving more than 400 construction workers. This impressive feat of engineering helped sustain the growing commercial activity at the docks and warehouses in East London, and the sudden influx of daily commuters brought in from the newly built London Bridge station. Still in full use today, the bridge is lifted an average of 850 times a year. This Victorian masterpiece remains a highly important crossing on the River Thames, as well as being one of London’s defining landmarks. This compelling album of photographs by Harry Cory Wright allows us to experience the awe-inspiring structure of Tower Bridge in exquisite detail, from the intricate machinery and original mechanisms inside the control rooms and secret corridors, to the great cavernous space within the bascule chamber. It includes an interview with Senior Technical Officer Glen Ellis, who shares his own daily experience of lifting the bridge, evoking an incredibly vivid sense of ‘being there’.

Photographer Frederic Chaubin reveals 90 buildings sited in 14 former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end. Frederic Chaubin's Cosmic Communist Constructions Photographed was elected best book on architecture of the year 2010 by the International Artbook and Film Festival in Perpignan, France (Festival International du Livre d'Art & du Film Perpignan).

William Henry Fox Talbot is celebrated today as one of the English inventors of photography. He made early photographic experiments in the 1830s, released the details of his photogenic drawing process in January 1839, and introduced important innovations to the medium in the 1840s and 1850s. Drawing on archive material in the Bodleian Library, including three albums given by Talbot to his sister, Horatia Feilding, as well as his illustrated books, Sun Pictures in Scotland and The Pencil of Nature, this volume shows how Talbot was continually inventing photography anew. A selection of eighty full-page plates provides a thematic survey of Talbot’s work, reproducing images that document his travels, his home and his family, as well as his intellectual interests, from science to literature to ancient languages. An illustrated introduction places Talbot’s work within the context of a modernising Britain, as well as within his own social and intellectual milieu, and explores how the competing daguerreotype process spurred Talbot to improve his own techniques and seek new functions and uses for paper-based photographs. This evocative selection is testament to Talbot’s constant quest for new photographic advances, offering a compelling window into the archives of an extraordinarily determined and creative man.

The transformation of man to beast is a central aspect of traditional pagan rituals that are centuries old and which celebrate the seasonal cycle, fertility, life and death. Each year, throughout Europe, from Scotland to Bulgaria, from Finland to Italy, from Portugal to Greece via France, Switzerland and Germany, people literally put themselves into the skin of the 'savage', in masquerades that stretch back centuries. By becoming a bear, a goat, a stag or a wild boar, a man of straw, a devil or a monster with jaws of steel, these people celebrate the cycle of life and of the seasons. Their costumes, made of animal skins or of plants, and decorated with bones, encircled with bells, and capped with horns or antlers, amaze us with their extraordinary diversity and prodigious beauty. Work on this project took photographer Charles Freger to eighteen European countries in search of the mythological figure of the Wild Man: Austria, Italy, Hungary, Slovenia, Slovakia, Spain, Poland, Portugal, Germany, Greece, Macedonia, Bulgaria, Czech Republic, Switzerland, Croatia, Finland, Romania and the UK.

The photo book presents a series of bus stops photographed by Michael Kruscha while traveling. The pictures were taken in Eastern Europe, Kazakhstan/Armenia, Arabia/Middle East, North and South Africa, South America and Asia. The trip began in Oman, where the artist encountered bus stops strewn along hundreds of kilometers of desert road. They seem paradoxical: the structures built for the purpose of waiting appear to be deprived of their role, a l art-pour-l art product? All the more astonishing is the design. The small secular constructions vary in material, shape and condition: they are a mix of geometrically reduced decorative architecture and futuristic plastic, with reliefs, paintings or mosaics, and ornamentation or figures. Some are serially produced, while others are individual, some palatial and ornate, while others are only semi-erected in a provisional state or dilapidated. Close-ups of evocative landscapes and unusual details, picturesque transitions of color and contrasting compositions alternate with every page in the book. Portrayals of art history, an interview with the artist and quotes from well-known authors intensify the traveling experience. The viewer is fascinated by the aesthetic appeal of foreign landscapes and the diversity of international architectural styles that uniquely coalesce."

Phil Borges, a documentary photographer and filmmaker whose work is aimed towards social justice and preservation of different cultural heritage, from over 25 years has been documenting indigenous and tribal cultures, striving to create an understanding of the challenges these people face everyday. In exclusive preview, the volume offers the chance to admire several works from his most famous series such as Tibetan Portrait, Tibet: Culture on the Edge, Enduring Spirit (created in association with Amnesty International), Spirit of Place and Women Empowered. Text in English and Italian.

The theme of Margaret M. De Lange's second book published by Trolley is one of loneliness. It is a personal documentary, which follows people close to her as well as some that she has met only briefly, and the solitude they encounter.

Orbital Planes: A Personal Vision of the Space Shuttle is Roland Miller's intimate photographic view of the Space Shuttle Program. A unique collection of imagery, the book explores the Space Shuttle orbiters-both inside and out-along with related facilities including rocket engine test sites, Solid Rocket Booster and External Tank manufacturing facilities, orbiter manufacturing and maintenance facilities, launch sites, and more. Miller photographed the Space Shuttle starting in 1988. He began his focused work for Orbital Planes in 2008 and continued for the duration of the Space Shuttle Program through the decommissioning of the orbiters. Orbital Planes is part artistic invention, part space archaeology, and part historic documentation. Through a combination of documentary and abstract photographs made around the United States, Orbital Planes tells an expansive story of the Space Shuttle Program in a visually arresting style. Detailed imagery describes the distinctive design and engineering of these spacecraft and the facilities where they were maintained and launched. The drama and danger of spaceflight are seen in the wear and tear visible on the Space Shuttle orbiters. The book also chronicles the story of Miller's interactions with Space Shuttle workers and the impacts of the Challenger and Columbia accidents.

Anders Petersen (b. 1944) lives and works in Stockholm, Sweden. He is noted for his intimate and personal documentary-style black-and-white photographs. In 1967, he started to photograph the late-night regulars (prostitutes, transvestites, drunks, lovers, drug addicts) in a bar in Hamburg, Germany, named Cafe Lehmitz, and continued that project for three years. His photobook of the same name was published eight years later, in 1978, and has since become regarded as a seminal book in the history of European photography. In 1970, he co-founded SAFTRA, the Stockholm group of photographers, with Kenneth Gustavsson, and simultaneously taught at Christer In 2007, he was one of four finalists for the GBP30,000 Deutsche Boerse Photography Prize.

This series celebrates the Bodleian Library's acquisition of Tom Phillips's archive of over 50,000 photographic postcards dating from the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Each title in this series is thematically assembled and designed by the artist, the covers featuring a linked painting specially created for each title from Tom Phillips's signature work, A Humument. With an illuminating foreword by Eric Musgrave, 'Menswear' presents postcards of men in all manner of outfits, whether formal, practical or casual, dating from around 1900 up to c. 1949. Most of the subjects are posing for portraits, displaying both their individual style and an interpretation of the fashions of the time. The rich variety of accessories on display includes ties, gloves, pocket squares, walking sticks, canes, boutonnieres and spats.

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Readers shows people reading (or pretending to read) a wide variety of material from the Bible to Film Fun, either in the photographer's studio, in their own home or holidaying on the beach. Each book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips' signature work, A Humument.