The volume collects a rich selection of photographs from the archives of the Magnum Photos agency, taken by Robert Capa, in a combination of emblematic shots of his work and images that have appeared more rarely. The intent is to hint at some facets of a passionate and ultimately elusive character as Capa was: a courageous witness of his time, a strong, insatiable and at the same time dissatisfied personality, with the traits of a gambler. Therefore, not only the war images that made him one of the most famous photojournalists of the 20th century, but also lesser-known shots that allow you to appreciate the very high formal quality of his photography and, together with it, his personality. Text in English, Italian and French.

Blue Ice is the new book from photographer Alex Bernasconi whose unique approach to wildlife photography has been honoured with multiple prestigious awards. Bernasconi's breathtaking panoramas reveal the spectacular beauty of the Antarctic landscape shaped by its extreme climate, while his wildlife portraits depict the surprising diversity of Species, highly adapted to the challenging conditions in which they live. A foreword by the British glaciologist Professor Julian Dowdeswell, Director of the Scott Polar Research Institute, explains the dynamics of the geography and ice masses, and the effects of climate change, while Dr Peter Clarkson draws on his personal experiences as a member of the British Antarctic Survey in his introduction, which also recounts the challenges of working and living in one of the harshest environments on Earth. Blue Ice provides a remarkable Visual record of an eco-system at risk, revealing the extraordinary, unexpected beauty of the Antarctic, the most remote and endangered place on Earth.

Kary H. Lasch (1914 - 1993) was a Czech-born photographer who moved to Sweden in 1939 and whose international model scouting network was based in Stockholm. His photographic career spanned the 1950s through the 1980s, and he attended the Cannes Film Festival consecutively for over 30 years. He travelled widely, and is well known for his iconic images of Picasso, Dali, Fellini, Sofia Loren, and Brigitte Bardot. Lasch was known to do anything to get a scoop on the best photos. In a famous instance, when Sofia Loren was on her way to Stockholm by train from Copenhagen in 1955, Kary picked up the train she was on in Copenhagen, bribed the concierge, and photographed her while she was dressing in the train car. When they arrived in the Stockholm Central Station, the Swedish press were competing for the best position for a picture while Sofia and Kary were looking out of the train window. This 3-volume set (Vol. 1: Famous; Vol. 2: Cannes; Vol. 3: Humorous), brings together works from the extensive Kary Lasch Collection, which contains more than 600,000 images.

Street photography may look like luck, but you have to get out there and hone your craft if you want to shake up those luck vibes. Matt Stuart never goes out without his trusty Leica and, in a career spanning twenty years, has taken some of the most accomplished, witty and well-known photographs of the streets.

From understanding how to be invisible on a busy street, to anticipating a great image in the chaos of a crowd, Matt Stuart reveals in over 20 chapters the hard-won skills and secrets that have led to his greatest shots. He explains his purist and uniquely playful approach to street photography leaving the reader full of ideas to use in their own photography. Illustrated throughout with 100 of Stuart's images, this is a unique opportunity to learn from one of the finest street photographers around.

In the mid-1860s Arthur J Munby began to collect the first mass-produced photographic images of working-class women in England, recording fascinating details about the women, the places he purchased the photographs and the raging debates on this new commercial practice of photography, in accompanying diaries. Many of these images - not to mention Munby's fascinating diaries - have never been published before. This book examines this previously un-investigated archive, offering a fresh and arresting perspective on the interrelationships between photographic representations of working-class women, the creation of new identities of class and gender and the evolution of popular conceptions of photography itself.

The Day May Break, photographed in Zimbabwe and Kenya in late 2020, is the first part of a global series portraying people and animals that have been impacted by environmental degradation and destruction. The people in the photos were all affected by climate change, displaced by cyclones and years-long droughts. Photographed at five sanctuaries, the animals were rescues that can never be re-wilded. As a result, it was safe for human strangers to be close to them, photographed so close to them, within the same frame. The fog on location is the unifying visual, as we increasingly find ourselves in a kind of limbo, a once-recognizable world now fading from view. However, in spite of their loss, these people and animals are the survivors. And therein lies possibility and hope.

Walking down the street in the heart of New York City is an experience that can't be duplicated anywhere else in the country, perhaps even the world. One merges into the impromptu flow and is carried along by the ongoing current of migratory souls. Harvey Stein documents the iconic areas of Midtown and Downtown Manhattan in 172 beautiful black-and-white photographs taken over 41 years, from 1974 through 2014. The photographs are intimate and personal. They document the close encounter between the photographer and his subjects while showing the mutuality between people. The black-and-white images enhance the sense of the past. To heighten the feeling of movement, anxiety, and vigor, blur, grain, low-angle flash, skewed perspectives, tight cropping, and wide-angle views are employed. The images sweep the viewer into the experience and feel of walking the streets of New York City.

In Soviet Seasons Kotov's photographs reveal unfamiliar aspects of the post-Soviet terrain. From snow-blanketed Siberia in winter, to the mountains of the Caucasus in summer, these images show how a once powerful, utopian landscape has been affected by the weight of nature itself. This uniquely broad perspective could only be achieved by a photographer such as Kotov. Singularly dedicated to exploring every corner of his country, Kotov often hitch-hikes across vast distances. On these journeys he chronicles not only the architectural achievements of the Soviet empire, but also its overlooked or simply undocumented constructions. Arseniy Kotov: 'In this book I reveal the beauty and diversity of this vast region, showing both cities and nature at different times of the year. I have travelled widely across Russia and its neighbouring countries, where I captured the landscape of post-Soviet cities and witnessed the seasonal changes.'

The bestselling behind-the-scenes look at the career of the legendary photographer – now in a new, compact format

Now in paperback and re-sized for easy reading, Steve McCurry Untold is the only book to tell the fascinating stories behind McCurry's most iconic photographs. It explores the travels, methods, and magic that gave birth to his evocative images, delving deep into the true stories behind McCurry's most important assignments for National Geographic and beyond - including his reunion with the now-legendary 'Afghan Girl'. Each story includes McCurry's first-hand account alongside specially commissioned essays, ephemera, and personal photographs from his private archive.

Featuring beautiful reproductions of McCurry's photographs spanning a broad range of themes and subjects and ephemera such as snapshots, journal extracts, maps, and newspaper clippings, Steve McCurry Untold is a living biography of one of the most imaginative documentary photographers working today.

More than 50,000 copies of the hardback edition sold worldwide, it was translated into seven languages and became an international bestseller.

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.

Karsh: A Biography in Images gives an overview of the photographer's career, from his beginnings in theater to his renowned portraits of the rich and famous.

In the context of the World Economic Forum (WEF), an absurd practice has emerged in Davos over the last few years: for the short time of the event, the main street is almost entirely rebuilt. Thus, a pop-up industry has grown up that generates an enormous short-term demand for reusable spaces, blank walls and empty rooms. The street scene of the alpine city is altered in favor of the self-representation of companies, corporations and organizations. The existing infrastructure is transformed, at horrendous prices, into a space of communication for the respective agenda. In his most recent series Davos Is a Verb, the Swiss photo artist Jules Spinatsch focuses on something that is typical of events around the world: the temporary appropriation of local spaces and infrastructures by major international corporations. In view of the debates over the WEF's future, this photobook gains its relevance and presents itself as a contemporary witness of the WEF in Davos. By using photo-essayistic, conceptual and investigative artistic strategies, Spinatsch documents the aesthetics and actions of the financial, technological and new media industries as well as the various political agents. The British ecological economist Tim Jackson, known for his critical attitude towards growth, comments on the hegemonic practices in Davos and the world in an extensive essay.

Street photography is perhaps the best-loved and most widely known of all photographic genres, with names like Cartier-Bresson, Brassai and Doisneau familiar even to those with a fleeting knowledge of the medium. Yet, what exactly is street photography? From what viewpoint does it present its subjects, and how does this viewpoint differ from that of documentary photography? Looking closely at the work of Atget, Kertesz, Bovis, Rene-Jacques, Brassai, Doisneau, Cartier- Bresson and more, this elegantly written book, extensively illustrated with both well-known and neglected works, unpicks Parisian street photography's affinity with Impressionist art, as well as its complex relationship with parallel literary trends and authors from Baudelaire to Philippe Soupault. Clive Scott traces street photography's origins, asking what really what happened to photography when it first abandoned the studio, and brings to the fore fascinating questions about the way the street photographer captures or frames those subjects - traders, lovers, entertainers - so beloved of the genre.In doing so, Scott reveals street photography to be a poetic, even 'picturesque' form, looking not to the individual but to the type; not to the 'reality' of the street but to its 'romance'.

This work examines the cultural impact of photography in Argentina following the end of the country's military dictatorship in the early 1980s. The interpretive study surveys nine modern photographers in Argentina - Marcelo Brodsky, Gabriel Valansi, Eduardo Gil, Gaby Messina, Adriana Lestido, Gabriel Diaz, Marcos Lopez, Silivio Fabrykant and Gabriela Liffschitz - and covers the major themes in each of their works. The author details each photographer's cultural and artistic contributions and provides a listing of the websites where their works can be viewed.

'Each shoot is a total love letter to an object from the V&A, sometimes several objects. My relationship to objects is like falling in love with someone. It relates to how we interact as people, how you become best friends with someone. It's a search for a new friend...' TIM WALKER Published to accompany the V&A's mesmerizing exhibition Tim Walker: Wonderful Things, this book is a journey through the creative mind of one of the world's most inventive photographers. It presents over 100 compelling photographs, from ten magical photoshoots inspired by objects from the V&A's enormous and eclectic collection. Featuring conversations between the set designers, stylists, hair and make-up artists, models and muses who bring Walker's imagination to life, it includes contributions by Jack Appleyard, Zoe Bedeaux, Terry Bloxham, Edie Campbell, Gwendoline Christie, Josephine Cowell, James Crewe, Malcolm Edwards, Karen Elson, Katy England, Edward Enninful OBE, Amanda Harlech, Shona Heath, Hungry/Johannes Jaruraak, Ibrahim Kamara, Kate Phelan, James Spencer, Jerry Stafford, Tilda Swinton and Gareth Wrighton. Previously unpublished behind-the-scenes imagery and preliminary sketches combine to reveal Walker's extraordinary creative process, from his detailed research in the labyrinth of storerooms and galleries at the V&A, to his spectacular final pictures.

As a young man, living in Manhattan in the 1970s and '80s, Frank Rispoli was drawn to the New Wave and Punk club scenes. Recognising the inherent performance of sexuality and desire in both fashion and club culture, he documented the intertwining of the two. Always with a camera strapped around his neck, he frequented Danceteria, Tier 3, Max's Kansas City, Studio 54 and many other clubs in Soho, Chelsea, the Lower East Side, and Midtown. Rispoli asked female clubgoers, bar patrons, singers, and band members if he could photograph their shoes, utilising the staged sets, props, and bathrooms of the clubs, and the taxis, sidewalks, and rooftops of the city, as his backdrops. A selection of these photographs forms the basis of his first book - High Heels. Rispoli attributes his interest in women's shoes to his inability, as a teenager, to look women in the eye and, due to his shyness, focusing on their feet instead. He drew further inspiration from the work of Guy Bourdin, and his advertising photography of the period. Rispoli continues, in his photographs, to capture the fun, freedom, and performance found in other outsider communities and events, such as Wigstock, and the burgeoning art scene in Bushwick, Brooklyn.

In northwest Russia, in a small village called Alekhovshchina, Nadia Sablin's aunts spend the warmer months together in the family home and live as the family has always lived-chopping wood to heat the house, bringing water from the well, planting potatoes, and making their own clothes. Sablin's lyrical and evocative photographs, taken over seven summers, capture the small details and daily rituals of her aunts' surprisingly colorful and dreamlike days, taking us not only to another country but to another time. Alevtina and Ludmila, now in their seventies, seem both old and young, as if time itself was as seamless and cyclical as their routines-working on puzzles, sewing curtains, tatting lace, picking berries, repairing fences-and as full of the same subtle mysteries. Sablin collaborated with her aunts to recreate scenes she remembered from her childhood and to make new images of the patterns of their days. In these photographs, Sablin combines observation and invention, biography and autobiography, to tell the stories of her aunts' life together, and in the process, quilts together a thoughtful meditation on memory, aging, and belonging.

An updated edition of Shore's groundbreaking book, now with previously unpublished photographs and a new introduction Stephen Shore's images from his travels across America in 1972-73 are considered the benchmark for documenting the extraordinary in the ordinary and continue to influence photographers today. The original edition of American Surfaces, published by Phaidon in 2005, brought together 320 photographs sequenced in the order in which they were originally documented. Now, in the age of Instagram and nearly 50 years after Shore embarked on his cross-country journey, this revised and expanded edition will bring this seminal work back into focus.

In Instanton, photographer and filmmaker Anton Corbijn presents a series of images, most of which have never been published previously. Corbijn gained his fame and reputation with his portraits of famous figures including Nick Cave, Tom Waits, The Rolling Stones, Marlene Dumas, Gerhard Richter, Clint Eastwood, Kate Moss and a host of other influential musicians, artists, filmmakers, models and designers. But over the years, Corbijn has also captured a wealth of intriguing images on his mobile phone. Instanton brings together a wide selection of these snapshots from his private life, as well as shots taken whilst travelling, recording 'the profane and the profound'.

Shirley Baker started to photograph the streets of Manchester and Salford in the early 1960s when homes were being demolished and communities were being uprooted. 'Whole streets were disappearing and I hoped to capture some trace of everyday life of the people who lived there. I was particularly interested in the more mundane, even trivial, aspects of life that were not being recorded by anyone else.' Shirley's powerful images, sparked by her curiosity, recorded people and communities involved in fundamental change. People's homes were demolished as part of a huge 'slum' clearance programme, however Shirley was able to capture some of the street life as it had been for generations before the change. The areas have been redeveloped to form a new and totally different environment. As Shirley once said, 'I hope by bridging time through the magic of photography, a connection has been made with a past that should not be forgotten'.