Using highly detailed color photographs, John Ganis has chronicled the effects of development and extraction industries in every region of the Continental United States over a period of seventeen years. The subjects of Ganis s images are for the most part flagrantly clear abandoned wrecks, desolate strip mines, clear-cut forests, industrial parks, landfill sites, and the flattening of terrain for housing -developments and just as flagrantly disturbing. This is a thesaurus of our "civilized" incursions into the wildness of nature, a charting of our debris-strewn topographies, and a cogent report on our abdication of any reverence -towards the land. In an introductory essay, Robert -Sobieszek, from Los Angeles County Museum, gives an insightful overview of the historical responses to the American landscape and places the work of John Ganis within the context of "the new American pastoral." In 1989, Ganis entered into a collaborative exchange with the noted anthropologist Dr. Stanley Diamond, who wrote the poetry for this book in response to John Ganis s photographs. They represent some of his last and previously unpublished poetic work.John Ganis established his reputation with work on -important environmental issues. His color photographs of land use in America have been exhibited widely and are in the collections of The Brooklyn Museum of Art, The Center for Creative Photography, The Detroit Institute of Arts, The San Francisco Museum of Modern Art etc.He is currently professor and photography department chair at the College for Creative Studies in Detroit."

From ice storms to fire rainbows, this is an A to Z guide to the earth's spectacular weather phenomena. Each entry has been crafted by experts at The Royal Meteorological Society, and many are illustrated with dramatic imagery from their annual Weather Photographer of the Year competition. As well as providing precise scientific and geographic detail, the entries often reveal the folklore that surrounds certain weather events and how they have affected human culture.

Photographed over twenty years, this is a portrait of the Jesus Army. For most of us, if we register them at all, they are the tambourine-wielding, gospel-singing fanatics who intrude on our Saturday morning shopping excursions. But for the members themselves, this charismatic Christian sect - often dismissed as a cult - is a total way of life. Founded in 1969 in Northamptonshire, England, believers are expected to renounce all their possessions, live in communes, and share all earnings. Their motto, and three basic tenets - "Love, Power and Sacrifice" - form the title of this book.It would be easy to ridicule belief, but instead photographer John Angerson has adopted another approach - a profoundly sympathetic authorial style which does not judge, or even simply chronicle, but seems to penetrate the very skin of a religious sect. What gives these photographs an eerie relevance today is that fanatical religious belief has, seemingly out of the blue, come to the foreground of contemporary life. From the Christian fundamentalist certainties that have underpinned recent American policy, to the Islamic extremism that has erupted everywhere from New York to London and Madrid, competing religious beliefs have redrawn the contours of the modern world. Angerson's photographs provide a searing insight in a world within a world. By peering into this microcosm of fanatical religion we can begin to understand a phenomenon that it is no longer possible to ignore.

As Others See Us is based on a new photographic exhibition from Tricia Malley and Ross Gillespie, who together form the renowned partnership broad daylight. It forms part of Homecoming 2009, celebrating the 250th anniversary of Robert Burns' birth. The exhibition consists of 20 portraits of prominent and influential Scots, including Eddi Reader, Edwin Morgan, Peter Howson and Janice Galloway. The portraits capture a unique insight into the sitter, enhanced by the accompanying text, as each was asked to contribute their favourite poem from Robert Burns, and to explain why it is special to them and what they think it means to Scots today.