As exploited and colonized people, California farmworkers have attracted such massive, overwhelming photographic scrutiny that today their story cannot be told, studied, or understood without engaging the photographic dimension. Although the work of Dorothea Lange and other photographers from the 1930s often comes to mind, virtually every photographer of consequence at some time, for some reason, photographed in the fields of the Golden State. This includes such unlikely twentieth-century artists as fashion photographer Richard Avedon and commercial photographer Max Yavno, along with the nineteenth-century masters Carleton E. Watkins and Eadweard Muybridge. Their work, however, does not unfold along neat, predictable lines. While it has both obscured the place of field hands in modern agriculture and made a case against the farm labor system as an instrument of poverty and oppression, the best of these photographs goes far beyond advertising and exposé, cutting through layers of ignorance and indifference and raising difficult moral questions that force us to reflect on the extent to which, as a society, we require the subservience of an entire class of people. This volume presents 282 of these important photographs.

"Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool.

"Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool.

"Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool.

"Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool.

"The richness of David Drebin’s distinctive oeuvre defines him as a master in his area." — CelebMix In Before They Were Famous, multidisciplinary artist David Drebin gathers his best shots of world-famous celebrities, before they hit the big time — whether Charlize Theron before her Oscar win or Steve Jobs before the first iPod. Limited to 1,200 copies, the book is a delightful and fascinating collection of pre-digital era Polaroids, contact sheets, and many of Drebin’s most famous images before they were sold out — Central Park, Girl in the Red Dress, or I love you with Girl.  We see famous faces every day: campaign shoots, pro­motional pictures, and paparazzi photos plaster the pages of print and digital media. But how did these well­ known personalities present in front of the camera before they made it big, becoming the highly ­recognised celebrities of today? In Before They Were Famous, David Drebin has rummaged through his archive to curate some of his best pictures of today’s most familiar faces. Whether Charlize Theron before her Oscar win, John Legend before he stormed the charts, or Steve Jobs just before the introduction of the legendary first iPod, David Drebin photo­graphed them all on their path to fame. With this captivating line up, the New York City­ based mul­tidisciplinary artist not only offers an intimate and original look at now world­ famous celebrities, but also shares his own career beginnings presenting images before they were sold out. These limited edition photographs were all created before Drebin, too, became famous, providing a unique and rare document of his own creative journey. Alongside the portraits, the book also shows original works, from femmes fatales to landscapes, which would come to define his practice and are today sold as limited edition photographs in the finest galleries worldwide. Text in English and German.

Fragments of a Jigsaw: Portraits of Artists and Writers of Wales is an unprecedented collection of photos by Bernard Mitchell who has compiled a gallery of notable characters within the Arts community in Wales. Fragments of a Jigsaw: Portraits of Artists and Writers of Wales is based on the on-going Welsh Arts Archive project. The project began in 1966 with a series of portraits of the Swansea friends of Dylan Thomas, including the artists Ceri Richards and Alfred Janes, the poet Vernon Watkins and the composer Daniel Jones. The collection kept growing: since 1990, Bernard Mitchell has added many artists who have since passed away, including, Will Roberts, Josef Herman, John Petts, Ivor Roberts Jones, John Elwyn, David Tinker and Ernest Zobole. The work continues with the artists working today. In 1999, a large exhibition of photographs of artists was held at the National Library of Wales, Aberystwyth. Photographs are also held in the collections of the National Portrait Gallery, London, The National Museum of Wales, Cardiff and the Glynn Vivian Gallery, Swansea. This is a unique collection of photo-portraits from the Welsh arts scene.For more information on the Welsh Arts Archive project, visit bernardmitchell. co.uk/welsharts-archive/.

The Congo Basin in Central Africa harbors approximately one quarter of the world's rainforest. In the heart of this forest is Odzala-Kokoua National Park, an ecological wonderland that is home to untold numbers of rare gorillas, forest elephants, and birds. It is also home to people who have lives vastly different from much of the rest of the world. In this stunning photographic series, Pieter Henket presents images of the children of Odzala- Kokoua telling the oral history of the Congo in enchanting and creative ways. Shot over the course of a month, Henket documented the children of this remote region as they designed, planned, created costumes for, and acted out a series of myths- about their tribes, their landscape, and the animals and plants that they live among. Their stories will educate others unfamiliar with a way of life that is so completely in harmony with nature. Filled with vibrant images that highlight the area's magnificent flora and fauna, this photographic project, which was three years in the planning and execution, offers an exciting opportunity to learn about nature and the environment and it delivers an optimistic message about trust, cooperation, and conservation for the next generation of policy makers.

Eric Mindling has been travelling the back roads of Oaxaca, Mexico, for over two decades. Oaxaca Stories in Cloth shows not only his love, but his respect for that dramatic geography and the people who have made it their home. More than 100 sensitive, intimate, full-colour portraits of traditional people offer rare glimpses of Oaxacan village life. The companion vignettes are a beautiful blend of villagers' personal stories and Mindling's praise song to the vanishing cultural traditions of Mexico. You will hear the voices of El Mago, the Magician, whose tales conjure an ancient world where women, cloth, and land were one, and La Coronela, once a high-ranking colonel in the army, who now explains the evolution of Zapotec fashion. You will meet Viviana the candle maker, Juana the young embroiderer, Marina the palm weaver, and dozens more who all come to life in remarkable photographs. Mindling's images capture the details of specific moments in everyday Oaxaca life today while conveying the history and enduring story of generations. The book is arranged in two sections: Living Threads records those villages where the community fashion of generations will die with the remaining elders. Each section is a beautiful and significant account. 'A wonderful story documenting the textile traditions of the people of Oaxaca. Fantastic photos.' www.yarnsandfabrics.co.uk

In the spring of 2017, Carla van de Puttelaar developed a new and timely series devoted to prominent and promising women in the art world, Artfully Dressed: Women in the Art World. While working on this ongoing project, Van de Puttelaar became even more impressed by the personalities and achievements of these women. United in their brilliance and strength, they represent a wide range of backgrounds, nationalities, careers, age and expertise. The women are dressed in amazing quality clothes by top designers, in period costumes or vintage clothes, or wrapped in stunning and luxurious fabrics. To date, over 400 women worldwide have participated in Van de Puttelaar's project,and the series continues to grow and has become an important document of the present time of women in the art world.

In Bloodflowers W. Ian Bourland examines the photography of Rotimi Fani-Kayode (1955-1989), whose art is a touchstone for cultural debates surrounding questions of gender and queerness, race and diaspora, aesthetics and politics, and the enduring legacy of slavery and colonialism. Born in Nigeria, Fani-Kayode moved between artistic and cultural worlds in Washington, DC, New York, and London, where he produced the bulk of his provocative and often surrealist and homoerotic photographs of black men. Bourland situates Fani-Kayode's work in a time of global transition and traces how it exemplified and responded to profound social, cultural, and political change. In addition to his formal analyses of Fani-Kayode's portraiture, Bourland outlines the important influence that surrealism, neo-Romanticism, Yoruban religion, the AIDS crisis, experimental film, loft culture, and house and punk music had on Fani-Kayode's work. In so doing, Bourland offers new perspectives on a pivotal artist whose brief career continues to resonate with deep aesthetic and social meaning.

In Doctored, Tanya Sheehan takes a new look at the relationship between photography and medicine in American culture from the nineteenth century to the present. Sheehan focuses on Civil War and postbellum Philadelphia, exploring the ways in which medical models and metaphors helped strengthen the professional legitimacy of the city's commercial photographic community at a time when it was not well established. By reading the trade literature and material practices of portrait photography and medicine in relation to one another, she shows how their interaction defined the space of the urban portrait studio as well as the physical and social effects of studio operations. Integrating the methods of social art history, science studies, and media studies, Doctored reveals important connections between the professionalization of American photographers and the construction of photography's cultural identity.

There was a time in America when two men pictured with their arms wrapped around each other, or perhaps holding hands, weren't necessarily seen as sexually involved - a time when such gestures could be seen simply as those of intimate friendship rather than homoeroticism. Such is the time John Ibson evokes in "Picturing Men", a striking visual record of changes in attitudes about relationships between gentlemen, soldiers, cowboys, students, lumberjacks, sailors, and practical jokers. Spanning from 1850 to 1950, the 142 everyday photographs that richly illustrate "Picturing Men" radiate playfulness, humor, and warmth. They portray a lost world for American men: a time when their relationships with each other were more intimate than they commonly are today, regardless of sexual orientation. "Picturing Men" starkly contrasts the calm affection displayed in earlier photographs with the absence of intimacy in photos from the mid-1950s on. In doing so, this lively, accessible book makes a significant contribution to American history and cultural studies, gender studies, and the history of photography.

"Newman's preternaturally piercing baby blue eyes shine through in every picture, and he was well aware of how his fame rested on the colour of his irises." - Peter Sheridan, Daily Express Once, when asked how he'd like to be remembered, Paul Newman replied: "I'd like to be remembered as a guy who tried. Tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being." As an actor who became a film star, Newman repeatedly tapped into his times and in doing so redefined what movie stardom could be. Newman was a new kind of movie star, bringing a particular authenticity, intensity and sensitivity to his performances. Throughout his career, Newman was extensively photographed: these images enriched film audiences' connection to him as a cool and graceful presence both on and off-screen. Milton Greene, Douglas Kirkland, Lawrence Fried, Terry O'Neill, Al Satterwhite and Eva Sereny are amongst the photographers who worked with Newman on and off-set across his career. From early stage work with his wife, Joanne Woodward, to his love of racing cars, to the essential 1980s drama Absence of Malice to the great success of the new western Butch Cassidy and the Sundance Kid and the cult favourites, Pocket Money and The Life and Times of Judge Roy Bean, Newman's movies were an essential part of American culture. With comment and contributions from the photographers, Paul Newman: Blue-Eyed Cool, gathers together portraits, stage, racing and on-set photography - including never before seen images - in a celebration of an actor who was always... cool.