This work features approximately 100 detailed historic photographs from The Francis Frith Collection with extended captions and full introduction. Suitable for tourists, local historians and general readers.

Around 100 finely-detailed photographs of Manchester in Victorian and Edwardian times feature in this photographic memoir from the world-famous Frith archive, with extended captions to pictures and a full introduction

The lush and unique photography in this book represents National Geographic's Photo Ark, a major initiative and lifelong project by photographer Joel Sartore to make portraits of the world's animals-especially those that are endangered. His powerful message, conveyed with humor, compassion, and art: to know these animals is to save them. Sartore is circling the globe, visiting zoos and wildlife rescue centers to create studio portraits of 12,000 species, with an emphasis on those facing extinction. With a goal of photographing every animal in captivity in the world, he has photographed more than 6,000 already and now, thanks to a multi-year partnership with National Geographic, he may reach his goal. This book showcases his animal portraits: from tiny to mammoth, from the Florida grasshopper sparrow to the greater one-horned rhinoceros. Paired with the eloquent prose of veteran wildlife writer Douglas Chadwick, and an inspiring foreword from Harrison Ford, this book presents a thought-provoking argument for saving all the species of our planet.

Born like Venus on the half shell from the centuries-long tradition of the nude in painting, the nude first appeared as a subject matter in photography with the introduction of the medium itself, between 1837 and 1840, and has continued as an ever-evolving theme through changing technical developments and cultural mores to the present day. This volume surveys the subject of nudity from the earliest surviving photographs of Greek and Roman sculpture through studies of living nude models for aesthetic or scientific purposes to the burgeoning practice of exploring the human body as pure form. The seventy-eight works, selected from the extensive collection of the J. Paul Getty Museum and further contextualized here in the essay Masterworks of the Nude, span the entire arc of the history of photography in a manner that is both fresh and illuminating. Among the sixty-four photographers included are nineteenth-century masters Julia Margaret Cameron, Edgar Degas, and Thomas Eakins; early-twentieth-century artists Man Ray, Alfred Stieglitz, and Edward Weston; mid-twentieth-century innovators Bill Brandt, Harry Callahan, and Minor White; late-twentieth-century image makers Diane Arbus, Robert Mapplethorpe, and Herb Ritts; and contemporary artists Chuck Close, Timothy Greenfield-Sanders, and Mona Kuhn.

"You're already famous, now you're going to make me famous," photographer Lawrence Schiller said to Marilyn Monroe as they discussed the photos he was about to shoot of her. "Don't be so cocky," Marilyn replied, "photographers can be easily replaced." The year was 1962, and Schiller, 25, was on assignment for Paris Match magazine. He already knew Marilyn-they had met on the set of Let's Make Love-but nothing could have prepared him for the day she appeared nude in the motion picture Something's Got to Give. Marilyn & Me is an intimate story of a legend before her fall and a young photographer on his way up. Schiller's extraordinary photographs and vibrant storytelling take us back to that time with tact, humor, and compassion. With more than 100 images, including rare outtakes from the set of Marilyn's last film, the result is a real and unexpected portrait that captures the star in the midst of her final months.

This artist's book by the influential but deliberately elusive Dusseldorf Conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Joseph Beuys and Bernd and Hilla Becher, Feldmann helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.

Havana triggers a wealth of images and projections in our mind's eye. Beyond the cliches, the phot ographer Eva - Maria Fahrner - Tutsek focuses her gaze on everyday life in Havana. Her photographs show life in the streets and the mood of the people. As we look and read, the light and dark sides of the capital of Cuba are gradually revealed. The most recent economic recession has brought the changes which had just begun in Cuba to a standstill. The associated privations are reflected in the behaviour and the faces of the people living in Havana. Fahrner - Tutsek's photographs show the inhabitants of the city a s they go about their business (which is often non - existent), sit on the street, perhaps play or simply wait. In a poetic approach the Cuban writer Leonardo Padura describes life in present - day Havana. The volume is enhanced by an insightful essay by the n oted photographer and photographic theorist Michael Freeman.

Humanitas is the result of a five-year photographic adventure. During this time, Fredric Roberts traveled extensively throughout Asia, from India to Cambodia, Bhutan to Thailand, Myanmar to China, some areas that were recently in the news after being ravaged by the tsunami. While this collection of images preceded the disaster and was only coincidentally released in its wake, it became a timely tribute to these people. Cicero coined the term humanitas (literally, GCGBPhuman natureGC[yen]) to describe the development of human virtue in all its forms, denoting fortitude, judgment, prudence, eloquence, and even love of honor - which contrasts with our contemporary connotation of humanity (understanding, benevolence, compassion, mercy). The Latin term is certainly a fitting title as we are struck not with pity for his subjectsGCO poverty, but with respect and awe for their individual fortitude and eloquence: each photograph tells us a compelling story. From a touching portrait of a mother and child to isolated monks at prayer, RobertsGCOs fifty-five photographs introduce us to a wide array of fascinating individuals. With an introduction by Arthur Ollman, Director of the Museum of Photographic Arts, and an afterword by Dennis High, Executive Director/Curator, Center for Photographic Art, Humanitas captures the spirit and the beauty of each subject and will be a sheer delight to any lover of photography or travel.

Between 1935 and 1938 the celebrated photographer Roman Vishniac explored the cities and villages of Eastern Europe, capturing life in the Jewish "shtetlekh" of Poland, Romania, Russia, and Hungary, communities that even then seemed threatened--not by destruction and extermination, which no one foresaw, but by change. Using a hidden camera and under difficult circumstances, Vishniac was able to take over sixteen thousand photographs; most were left with his father in a village in France for the duration of the war. With the publication of "Children of a Vanished World," seventy of those photographs are available, thirty-six for the first time. The book is devoted to a subject Vishniac especially loved, and one whose mystery and spontaneity he captured with particular poignancy: children.
Selected and edited by the photographer's daughter, Mara Vishniac Kohn, and translator and coeditor Miriam Hartman Flacks, these images show children playing, children studying, children in the midst of a world that was about to disappear. They capture the daily life of their subjects, at once ordinary and extraordinary. The photographs are accompanied by a selection of nursery rhymes, songs, poems, and chants for children's games in both Yiddish and English translation. Thanks to Vishniac's visual artistry and the editors' choice of traditional Yiddish verses, a part of this wonderful culture can be preserved for future generations.
Earlier books of Roman Vishniac's photographs include "To Give Them Light: The Legacy of Roman Vishniac" (1995), "A Vanished World" (1983), and "Polish Jews" (1947).
A major exhibition titled "Children of a Vanished World: Photographs byRoman Vishniac" is scheduled at the Museum of Jewish Heritage in New York. The show will open to the public on March 7 and run through June 4, 2000.

An indigenous reservation in the colony of Victoria, Australia, the Coranderrk Aboriginal Station was a major site of cross-cultural contact the mid-nineteenth century and early twentieth. Coranderrk was located just outside Melbourne, and from its opening in the 1860s the colonial government commissioned many photographs of its Aboriginal residents. The photographs taken at Coranderrk Station circulated across the western world; they were mounted in exhibition displays and classified among other ethnographic "data" within museum collections. The immense Coranderrk photographic archive is the subject of this detailed, richly illustrated examination of the role of visual imagery in the colonial project. Offering close readings of the photographs in the context of Australian history and nineteenth- and early-twentieth-century photographic practice, Jane Lydon reveals how western society came to understand Aboriginal people through these images. At the same time, she demonstrates that the photos were not solely a tool of colonial exploitation. The residents of Coranderrk had a sophisticated understanding of how they were portrayed, and they became adept at manipulating their representations.Lydon shows how the photographic portrayals of the Aboriginal residents of Coranderrk changed over time, reflecting various ideas of the colonial mission-from humanitarianism to control to assimilation. In the early twentieth century, the images were used on stereotypical postcards circulated among the white population, showing what appeared to be compliant, transformed Aboriginal subjects. The station closed in 1924 and disappeared from public view until it was rediscovered by scholars years later. Aboriginal Australians purchased the station in 1998, and, as Lydon describes, today they are using the Coranderrk photographic archive in new ways, to identify family members and tell stories of their own.

A groundbreaking photobook about women without children. The nude images challenge the negative attitudes within society towards women who are not mothers, and the text shares their stories of birth and death, choice, freedom, pain ... and regret. 50 colour images show real nude women in the foetal position: they come from all walks of life - professionals, artists: a few have mental health issues or disabilities; some have fragile relationships with their birth mother; a couple identify as other than heterosexual. Mum's not the word debates the social stigmatisation of women, who, by choice, circumstance or, for whatever reason, go against the instinct for childbirth and maternal productivity.

In a brilliant follow-up to his critically acclaimed book, Humanitas, Fredric Roberts continues his journey in search of humanity with Humanitas II, chronicling stories of beauty and grace, work and family, spirituality and devotion, while redefining photographic documentation and representation. This time he takes us to Mumbai and throughout the state of the Gujarat in India. RobertsGCOs striking photographs explore India today and its links to the past. Here are day-to-day events as well as special ceremonies, giving us a firsthand view of these peoples that serves to the gap between GCGBPusGC[yen] and GCGBPthem.GC[yen] The subject often looks directly at the photographer and at the reader, effortlessly prompting a cross-cultural dialogue. Arthur Ollman, Director of the Museum of Photographic Arts, returns in this volume with a foreword, and Deborah Willis contributes her introduction to place this stunning second installment of Humanitas in context.

North Dakotan Shane Balkowitsch's first personal camera was not an Instamatic Kodak or a point-and- shoot Nikon, but rather a large format wet plate camera. As a self-taught 'image-maker' and one of the fewer than 1,000 wet plate collodion artists practicing around the world, Balkowitsch has fully devoted himself to mastering the obsolete photographic technology since 2012. Approaching the historically embedded technique from a contemporary perspective, Balkowitsch's process transforms the limitations of the medium - its labour and time sensitive nature - into opportunities for creative explorations. Northern Plains Native Americans: A Modern Wet Plate Perspective presents a selection from Balkowitsch's photographic project which aims to capture 1000 wet plate portraits of Native Americans. His photographs highlight the dignity of his subjects, depicting them not as archetypes, but individuals of contemporary identities and historical legacies.

India's emerging LGBTQ community depicted in a groundbreaking series of gorgeous, full-colour photographs, in affordable and stylish paperback. Delhi offers a stunning series of more than 150 full-color documentary photographs and companion first-person texts, which together offer an unprecedented portrait of LGBTQ people's lives in India today. Focusing on Delhi, noted photographers Sunil Gupta and Charan Singh chronicle the halting emergence of networks of men and women living under the shadow of stigma and criminalized behavior.

This book examines the practice of portraits as a way in to grasping the paradoxes of subjectivity. To Nancy, the portrait is suspended between likeness and strangeness, identity and distance, representation and presentation, exactitude and forcefulness. It can identify an individual, but it can also express the dynamics by means of which its subject advances and withdraws. The book consists of two extended essays written a decade apart but in close conversation, in which Nancy considers the range of aspirations articulated by the portrait. Heavily illustrated, it includes a newly written preface bringing the two essays together and a substantial Introduction by Jeffrey Librett, which places Nancy's work within the range of thinking of aesthetics and the subject, from religion, to aesthetics, to psychoanalysis. Though undergirded by a powerful grasp of the philosophical and psychoanalytic tradition that has rendered our sense of the subject so problematic, Nancy's book is at heart a delightful, unpretentious reading of three dozen portraits, from ancient drinking mugs to recent experimental or parodic pieces in which the artistic representation of a sitter is made from their blood, germ cultures, or DNA. The contemporary world of ubiquitous photos, Nancy argues, in no way makes the portrait a thing of the past. On the contrary, the forms of appearing that mark the portrait continue to challenge how we see the bodies and representations that dominate our world.

On March 11, 2011 one of the most powerful earthquakes in recorded history devastated Japan, triggering a massive tsunami and nuclear meltdowns at three reactors in the Fukushima Daiichi Nuclear Power Plant complex in a triple disaster known as 3.11. On five separate journeys, Japanese-born performer and dancer Eiko Otake and historian and photographer William Johnston visited multiple locations across Fukushima, creating 200 transformative color photographs that document the irradiated landscape, accentuated by Eiko's poses depicting both the sorrow and dignity of the land. The book also includes essays and commentary reflecting on art, disaster, and grief. "By placing my body in these places, I thought of the generations of people who used to live there. Now desolate, only time and wind continue to move." - Eiko Otake "This book is of people who had lived in Fukushima and had to leave, and of people who had died there before the disaster. This book is of Fukushima, of a dancer, of a performance, of a gaze. A gaze of a dancer, of time, and of a photographer. And this book is of you, your gaze. When you take time to look at and look into each photograph, we hope it becomes a performance for you and with you, of Fukushima. By witnessing events and places, we actually change them and ourselves in ways that may not always be apparent but are important. Through photographing Eiko in these places in Fukushima, we are witnessing not only her and the places themselves, but the people whose lives crossed with those places." - William Johnston

Shakespeare by McBean collects 300 images, many never before published, taken by the renowned photographer Angus McBean. Incorporating images from every one of Shakespeare’s plays performed at the RSC, with some from the Old Vic, between the years 1945–62, it is a veritable who’s who of the British stage. Richard Burton, Vivien Leigh, Robert Donat, Alec Guiness, Michael Redgrave, Peggy Ashcroft, Laurence Olivier, Edith Evans, Paul Scofield, Diana Rigg, Anthony Quayle, Charles Laughton, John Gielgud, Peter O’Toole and Dorothy Tutin are just some of the names that appear. Angus McBean was an exceptional talent, whether he was transforming the photography of rehearsals, inspiring the Beatles, or entertaining his admireres with his light-hearted espousal of surrealism in portraiture. In a career lasting half a century his influence can be seen in everything from advertising to pop culture. -- .

Recent events have pushed artists to visualize ideas of closeness in a new light. Kinship, published on the occasion of the National Portrait Gallery's tenth "Portraiture Now" exhibition, features the work of eight leading contemporary artists who explore familial relationships through photography, painting, sculpture, and performance. Contemporary portraiture offers a way to consider the mutable yet enduring qualities of familial relationships and the internal and external forces that affect our bonds with others. For example, interpretations of distance - whether emotional, physical, or geographical - have recently become more fraught. By recognizing the transformations that occur in the genre of portraiture and the threads that today's portraits share, we can better understand the universality and specificity of kinship. List of artists: Njideka Akunyili Crosby, Jess T. Dugan, LaToya Ruby Frazier, Jessica Todd Harper, Thomas Holton, Sedrick Huckaby, Anna Tsouhlarakis