A stunning full-color collection of photographs, old and new, by the renowned photographer and LGBTQIA+ activist Lola Flash Working at the forefront of genderqueer visual politics, celebrated photographer Lola Flash has become known for images that manage to both interrogate and transcend preconceptions about gender, sex, and race. Spurred by their experience as an active member of ACT UP and ART+ during the AIDS epidemic in New York City, their art is profoundly connected to their activism, fueling a lifelong commitment to visibility and preserving the legacy of queer communities, especially queer communities of color. The seventeenth volume in a groundbreaking series of LGBTQ-themed photobooks from The New Press, Believable draws on the extraordinary body of work that Flash has created over four decades, from their iconic "Cross Colour" images from the 1980s and early 1990s to their more recent photography, which used the framework of Afrofuturism to examine the intersection of Black culture and technoculture and science fiction. Also included in the book are portraits that explore the impact of skin pigmentation on Black identity and consciousness, as well as people who have challenged traditional concepts of gender and trendsetters in the urban underground cultural scene. In all their images, their passion for photography and their belief in the medium's ability to provide agency and freedom and initiate change shine through. For the first time, Believable brings together the remarkable work of this queer art icon. Believable was designed by Emerson, Wajdowicz Studios (EWS).

This study of the lives of women in Ethiopia and Mauritania projects the dignity and self-confidence of the women and their sense of ease. Their inner strength suggests traces of an ancient past - the world of the Queens of Sheba.

Some 30,000 children are homeless in Bombay; living on its streets, under bridges, anywhere they can escape harassment by both police and criminals. This photographic collection captures this cruelly hazardous background for these young people.

Underage is an award-winning photographic documentation aimed at understanding the minds of underage male prostitutes in Thailand in a most candid and visceral way. Photographer Ohm Phanphiroj uncovers the life, choice, and consequences that these young boys are experiencing. Underage prostitution results from several reasons, from being molested by family members and/or relatives, poverty, being a runaway, and drug addiction.Underage has been exhibited worldwide, among others at Newspace Center for Photography (2011), Sommerblut International Art Festival (2011), Noordelicht Photo Festival (2012), The Kinsey Institute (2013), Tally Beck Contemporary (2014), Miami Art Festival (2014), and Documentary Arts Asia (2014).The photographic project received multiple awards, i.e. Lightwork (2012), Newspace Center for Photography (2012), Documentary Arts Asia (2014), Columbia College fellowship (2015), Noor-Nikon (2015), Society for Photographic Education (2015).

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.

From Coco Chanel and Grace Kelly to Twiggy and Lady Diana, here are ten women who changed twentieth-century fashion forever! Coco Chanel once proclaimed, "I don't do fashion, I am fashion," and in one line she established a mantra for a handful of women who revolutionized the concept of femininity in the mid-twentieth century. A Matter of Style documents the unforgettable lives of Chanel and nine other female icons of style and elegance who captivated entire generations and remain inspiring models of beauty and fascination. An extraordinary collection of photographs brings these women back to life: Coco Chanel, Katharine Hepburn, Grace Kelly, Audrey Hepburn, Brigitte Bardot, Marilyn Monroe, Jacqueline Kennedy, Mary Quant, Twiggy, and Lady Diana. These are the stories of unparalleled lives, captured in a volume without precedent.

Executive Order is a trenchant look at corporate America, featuring portraits and office interiors shot during the 1970s in Los Angeles and the Mountain West. A daring critique of wealth and power, Ressler wields photography with humor and insight, and her work is especially relevant today. Susan Ressler is an internationally renowned photographer, author and educator. An NEA fellow, her work is in the Smithsonian American Art Museum and the Library Archives of Canada, among other important collections. Mark Rice is an award-winning author and the founding chair of the American Studies Department at St. John Fisher College near Rochester, New York.

In every crisis situation, children are the greatest victims. Physically weak, they are often the first to succumb to hunger, disease, and dehydration. Innocent to the workings and failings of the world, they are unable to understand why there is danger, why there are people who want to hurt them, or why they must leave, perhaps quite suddenly, and abandon their schools, their friends, and their home. In this companion series to Exodus, Sebastiao Salgado presents 90 portraits of the youngest exiles, migrants, and refugees. His subjects are from different countries, victims to different crises, but they are all on the move, and all under the age of 15. Through his extensive refugee project, what struck Salgado about these boys and girls was not only the implicit innocence in their suffering but also their radiant reserves of energy and enthusiasm, even in the most miserable of circumstances. From roadside refuges in Angola and Burundi to city slums in Brazil and sprawling camps in Lebanon and Iraq, the children remained children: they were quick to laugh as much as to cry, they played soccer, splashed in dirty water, got up to mischief with friends, and were typically ecstatic at the prospect of being photographed. For Salgado, the exuberance presented a curious paradox. How can a smiling child represent circumstances of deprivation and despair? What he noticed, though, was that when he asked the children to line up, and took their portraits one by one, the group giddiness would fade. Face to face with his camera, each child would become much more serious. They would look at him not as part of a noisy crowd, but as an individual. Their poses would become earnest. They looked into the lens with a sudden intensity, as if abruptly taking stock of themselves and their situation. And in the expression of their eyes, or the nervous fidget of small hands, or the way frayed clothes hung off painfully thin frames, Salgado found he had a refugee portfolio that deserved a forum of its own. The photographs do not try to make a statement about their subjects' feelings, or to spell out the particulars of their health, educational, and housing deficits. Rather, the collection allows 90 children to look out at the viewer with all the candor of youth and all the uncertainty of their future. Beautiful, proud, pensive, and sad, they stand before the camera for a moment in their lives, but ask questions that haunt for years to come. Will they remain in exile? Will they always know an enemy? Will they grow up to forgive or seek revenge? Will they grow up at all?

"It's about the underlying impulse that goes into perceiving a photographic moment and the techniques that support both this perception and the process of capturing these instances in a manner that is not just technically adept, but creatively original." -D. Donovan, Midwest Book Review This book is a visual feast, an offering both for those who love fine art and those who recognise the thought behind its creation. It is in addition, a book for photographers seeking to learn how to make their own photographs more artistic. The goal of this book is to offer readers a guide for those seeking to take fine, interpretive photographs and a joyful thought-provoking journey that the photographs in this book will inspire.

Throughout the heady years of New York's 1960s and 70s music scenes, James Hamilton was on hand to observe and photograph some of the most significant bands, musicians and performances of the twentieth century. Serving as staff photographer for the "Village Voice" and "Crawdaddy ," Hamilton photographed such musicians as James Brown, Captain Beefheart, Ornette Coleman, Creedence Clearwater Revival, Crosby, Stills, Nash and Young, the Grateful Dead, John Fahey, Mick Jagger, Jethro Tull, Elvin Jones, the Kinks, Madonna, Charlie Mingus, Joni Mitchell, the Ramones, Gil Scott-Heron, Patti Smith, Sun Ra, Tom Verlaine and Stevie Wonder. In "You Should Have Heard Just What I Seen," Hamilton opens up his archives for the first time, revealing across 300 pages a trove of previously unpublished black-and-white photographs--portraits, snapshots, sketches, contact sheets--of some of the most recognizable faces in music. Influential for several generations of budding photographers raised on his photographs, the work of James Hamilton is at last collected in this revelatory volume.
As a young man in the late 1960s, James Hamilton met the legendary photographers Diane Arbus and Eugene Smith, and was inspired by them to document the changing skyline of New York City. As staff photographer for "Harper's Bazaar" and the "Village Voice," Hamilton recorded the fashion shows, events, protests and riots, happenings, concerts, poetry readings and art openings of that era, and throughout the 1970s, his photographs of musicians and celebrities began to appear in the pages of "Crawdaddy "magazine. Later Hamilton joined "The New York Observer" and began working with filmmakers George Romero, Francis Ford Coppola, Wes Anderson, Bill Paxton and Noah Baumbach as on-set photographer.

Tim Dirven won a World Press Photo Award with his picture of an Afghan woman, taken shortly after 9/11. Another photo of dancing flight attendants on a KLM airplane became famous after being bought by people around the world. Tim Dirven has been capturing iconic images for over 20 years. He defines his collected works as Karkas (carcass), because it centralises the architecture of man and animal, defining the essence of bodily existence. When everything has been eaten, the carcass is all that is left behind: the last witness. Similarly, this book is a search for the essence of existence. Dirven portrays no-nonsense people hardened by life, who are trying to find balance in an often insecure religious, cultural, political and ecological context.

Photographer, stylist and fashion editor Ferry van der Nat has worked for numerous fashion magazines and brands. Under the name Mr Polaroid, van der Nat began taking strong sculptural polaroids of male models. What started as a personal project evolved into a great collection of images and a celebration of male beauty. Mr Polaroid's first ever monograph contains over 200 of his best photographs. With contributions by Gert Jonkers (Fantastic Man) and Alan Prada (l'Uomo Vogue).

Revealing and insightful, Lauren Greenfield's classic monograph on the lives of American girls is back in print. Greenfield's award-winning photographs capture the ways in which girls are affected by American popular culture. With an eye for both the common and the eccentric, she visits girls of all ages, discussing issues ranging from eating disorders and self-mutilation to spring break and prom. With more than 100 mesmerizing photographs, 18 interviews, and an introduction by social and cultural historian Joan Jacobs Brumberg, this book is as vital and relevant now as when it was first published.

In 1979, JEB (Joan E. Biren) self-published her first book, Eye to Eye: Portraits of Lesbians. Revolutionary at that time, JEB made photographs of lesbians from different ages and backgrounds in their everyday lives-working, playing, raising families, and striving to remake their worlds. The photographs were accompanied by testimonials from the women pictured in the book, as well as writings from icons including Audre Lorde, Adrienne Rich and a foreword from Joan Nestle. Eye to Eye signalled a radical new way of seeing - moving lesbian lives from the margins to the centre, and reversing a history of invisibility. More than just a book, it was an affirmation of the existence of lesbians that helped to propel a political movement. Reprinted for the first time in forty years and featuring new essays from photographer Lola Flash and former soccer player Lori Lindsey, Eye to Eye is a faithful reproduction of a work that continues to resonate in the queer community and beyond.

Photographers Sarah Plater and Hannah MacGregor present an authoritative self-contained course book on successfully shooting arresting portraits. Clear, concise and jargon-free text guides the novice photographer through the various styles of portraiture to capture subjects of all ages. The book begins with information on how to set up a small portrait studio in the home, including the use of backgrounds, flash equipment and other accessories. As a guide to the technical aspects of photography, the authors cover the essentials of correct exposure, white balance settings, and shooting in natural light. Post-production techniques such as skin retouching and colour correction are explained, as are printing options for portraits.

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."

Yasser Alwan photographed in and around Cairo, recording encounters with people in the streets, at the racetrack, in cafes, and in places of work-tanneries, quarries, bookshops, potteries. His portraits of workers living in conditions of unimaginable poverty and political dispossession are remarkable for their refusal of the cliches of social documentary and photojournalism. Alongside these, there are intimate images of family and friends which form a collective portrait of the middle class seen in the relaxed informalities of daily life. This collection of Alwan's photographs offers an unprecedented and unique picture of Egyptian society, introducing an outstanding body of work in contemporary photography from the Arab world.

Audrey Hepburn, Humphrey Bogart, Gregory Peck, Rita Hayworth, Marilyn Monroe-the brightest stars of the silver screen couldn't resist curling up with a good book. This unique collection of rare photographs celebrates the joy of reading in classic film style. The Hollywood Book Club captures screen luminaries on set, in films, in playful promotional photos, or in their own homes and libraries with books from literary classics to thrillers, from biographies to children's books, reading with their kids, and more. Featuring nearly 60 enchanting images, lively captions about the stars and what they're reading by Hollywood photo archivist Steven Rea, and a glamorous stamped case design, here's a real page-turner for booklovers and cinephiles.

New York City subways - the century-old transit system has survived two World Wars, the Great Depression, and Hurricane Sandy. It and the millions of citizens that rely on it as their daily lifeline will also survive the COVID-19 pandemic. Subwaygram captures mobile phone street portraits of the diverse community of riders two years before and two years after the first case was confirmed in New York City and the commonalities in the fleeting moments of their journeys.

The images in Lin Dan-never before published and taken specially for this book-portray the young man in a previously unseen dimension, at times even brazen and unprincipled. In each of these photographs, Lin Dan appears in ever different situations, each of which interpret a specific role: from the seducer to the Graeco-Roman hero, from the gladiator to the great Imperial Emperor, from the aristocratic dandy to the Neapolitan street urchin.

An exquisitely illustrated celebration of creativity, revealing key moments of artistic enlightenment. The Art of Discovery features one hundred intimate portraits of celebrities relating personal stories about their inspirations. The striking imagery shot by renowned photographer Jeff Vespa is accompanied by insightful messages designed by typographer and award-winning art director Nancy Rouemy. Ranging from anecdotal to poignant, the accounts are from luminaries such as Susan Sarandon, Adrien Brody, Naomi Watts, William H. Macy, Kristen Stewart, Emily Blunt, Ralph Fiennes, Kate Bosworth, Paul Giamatti, Danny Glover, Dakota Fanning, and Jake Gyllenhaal. A portion of the proceeds from the sales of The Art of Discovery will go to support the arts advocacy programs of The Creative Coalition, the premier nonprofit, nonpartisan social and public advocacy organization of the arts and entertainment community.