Beautiful, haunting photographs of abandoned places in the USSR. Once thriving buildings now ravaged by nature and time are the subject of this fascinating, coffee-table book. Relics of the Soviet conquest of space, Moscow Pioneer camps, remnants of propaganda along a journey sparsely dotted with statues of Stalin or Lenin, from traditional Moldovan houses to ghosts of the Caucasian wars, by way of petro-chemical factories in the Donbass ... this report invites the reader to relive, through its striking pictures, more than a hundred years of history, from the beginnings of the Soviet period to the legacy of a communist era now fast fading from memory. Terence Abela has spent nine years travelling across the former USSR unearthing fragments from its past. His love of history, of photographing relics of the past and discovering the unknown, have combined to create this work. Driven by a desire to preserve the heritage abandoned by states that lurch between the threat of nationalism, dictatorship, wars and the will to invent a new history for themselves, he appeals to us through his pictures to protect these mementos which are at risk of disappearing in the not too-distant future.

This text examines the use of images in journalistic contexts and the manipulation of these images to accomplish varying objectives. It provides a framework for critical discussion among professionals, educators, students, and concerned consumers of newspapers, magazines, online journals, and other nonfiction media. It also offers a method of assessing the ethics of mass-media photos, which will help visual journalists to embrace new technologies while preserving their credibility.
"Phototruth or Photofiction?" also:
*recounts the invention of photography and how it came to be accorded an extraordinary degree of trust;
*details how photos were staged, painted, composited and otherwise faked, long before digital technology;
*lists contemporary image-altering products and practices;
*details many examples of manipulated images in nonfiction media and lists rationales offered in defense of them;
*explains how current ethical principles have been derived;
*lays groundwork for an ethical protocol by explaining conventions of taking, processing, and publishing journalistic photos; and
*offers tests for assessing the appropriateness of altered images in non-fiction media.
Each chapter is followed by Explorations designed to facilitate classroom discussion and to integrate into those interactions the students' own perceptions and experiences. The book is intended for students and others interested in the manipulation of images.

Published on the occasion of what would have been his 70th birthday, this monograph on the work of the late Czech photographer Milon Novotny reveals him to be more than just a photo-journalist. A poet of everyday life whose medium was photography, Novotny possessed a remarkable ability to see deep human content in what appeared to be banal shots.

As the visual component of contemporary media has overtaken the verbal, visual reportage has established a unique and extremely significant role in 21st-century culture. Julianne Newton has prepared this comprehensive analysis of the development of the role of visual reportage as a critical player in the evolution of our understanding of ourselves, others, and the world. "The Burden of Visual Truth" offers a first assessment of the role of visual journalism within the context of the complex, cross-disciplinary pool of literature and ideas required for synthesis.
Newton approaches the subject matter from several perspectives, examining the theoretical and ideological bases for visual truth, particularly as conveyed by the news media, and applying relevant research on photojournalism and reality imagery to contemporary newspaper, broadcast, and internet professional practice. She extends visual communication theory by proposing an ecology of the visual for 21st century life and developing a typology of human visual behavior. Scholars in visual studies, media studies, journalism, nonverbal communication, cultural history, and psychology will find this analysis invaluable as a comprehensive base for studying reality imaging and human visual behavior. The volume also is appropriate for journalism and media studies coursework at the undergraduate and graduate levels. With its conclusions about the future of visual reportage, "The Burden of Visual Truth" also will be compelling reading for journalism and mass communication professionals concerned with improving media credibility and maintaining a significant course for journalism in the 21st century. For all who seek to understand the role of visual media in the formation of their views of the world and of their own identities, this volume is a must-read.

'A moving series of portraits honouring the lives of Grenfell's victims' Vogue In the early hours of 14 June 2017, a fire broke out in Grenfell tower a block of flats in one of the wealthiest boroughs in West London. This tragedy caused the deaths of 72 innocent lives - the greatest loss of life on British soil since World War II - and the displacement of hundreds of residents from their homes. The lives of those who once called Grenfell home and those of the close-knit community who lost loved ones were forever changed. Gold & Ashes is a collection of photo stories of the local community of survivors and bereaved from Grenfell. Shot over 2 years, this affecting and poignant book - released on the 5th anniversary of the tragedy - highlights the true stories, the humanity and courage of the Grenfell community. All proceeds from book sales go to the Grenfell Foundation.

Beautiful, haunting photographs of abandoned places around the world. Once thriving buildings now ravaged by nature and time are the subject of this fascinating book. The vestiges of Abkhazia, a country that does not exist, an abandoned power plant turned into a set for Hollywood movies, the Buffer Zone in Cyprus, the ghost city of the Chernobyl disaster, an Art Nouveau theatre in Brussels, a unique 18th-century Italian fortification, the city of Tskaltubo with its waters of immortality, one of the oldest baths in Romania… Roman Robroek is an urban-obsessed and award-winning photographer, born and raised in the enchanting south of the Netherlands. He takes unique photos of forgotten and abandoned places all over the world. What is the story behind those buildings? Who used to live there? What purpose did these objects serve, and why were they abandoned? This curiosity has created a close bond between him and Urban Photography, and Oblivion is the result of the last 10 years, which he spent exploring incredible ghostly locations, trying to answer these endless questions.

An overgrown concrete bunker at Ypres; a rusting gun carriage in a field in Flanders; perfectly preserved trenchworks at Vimy, northern France; a rocky mountaintop observation post high in the Tyrolean mountains. More than 100 years after the end of World War I, the conflict's legacy can still be seen from Europe to the Pacific. Abandoned Places of World War I explores more than 120 bunkers, trench systems, tunnels, fortifications and gun emplacements from North America to East Africa. Included are defensive structures, such as Fort Douaumont at Verdun, the site of the Western Front's bloodiest battle; the elaborately constructed tunnels of the Wellington Quarry, near Arras, designed to provide a safe working hospital for wounded British soldiers; and crumbling concrete pill boxes in Anzac Cove, Turkey. From the preserved remains of the mighty Przemysl fortress to bunkers and observation points high in the Slovenian Dolomites, Abandoned Places of World War I features more than 180 striking photographs from around the world.

The before-and-after trope in photography has long paired images to represent change: whether affirmatively, as in the results of makeovers, social reforms or medical interventions, or negatively, in the destruction of the environment by the impacts of war or natural disasters. This interdisciplinary, multi-authored volume examines the central but almost unspoken position of before-and-after photography found in a wide range of contexts from the 19th century through to the present. Packed with case studies that explore the conceptual implications of these images, the book's rich language of evidence, documentation and persuasion present both historical material and the work of practicing photographers who have deployed - and challenged - the conventions of the before-and-after pairing. Touching on issues including sexuality, race, environmental change and criminality, Before-and-After Photography examines major topics of current debate in the critique of photography in an accessible way to allow students and scholars to explore the rich conceptual issues around photography's relationship with time andimagination.

'That evening in the bars in Buckingham and adjacent towns there was only one topic of conversation - the Grand Prix .... motor-racing had 'arrived' in England.' - Motor Sport, 13 May 1950. The British Grand Prix is the oldest race on the Formula 1 calendar, having entertained race fans for over seventy years - and from Kent to Liverpool, the Mirrorpix photographers have been there every step of the way. The F1 World Championship at the British Grand Prix is a race through the highest and lowest moments of a sport that has given us Stirling Moss, Michael Schumacher and Lewis Hamilton.

A MOVEMENT IN WORDS AND IMAGES Award-winning photographer Devin Allen has devoted the last six years to documenting the protests of the Black Lives Matter movement, from its early days in Baltimore, Maryland, up to the present day. The riveting images in No Justice, No Peace provide a lens on the resistance that has empowered Black lives generation after generation. Allen's signature black-and-white photos bear witness to the profound history of African Americans and allies in the fight for social justice and portray the collective action over decades in stunning, timeless portraits. Allen's remarkable photos of today's Black Lives Matter protests, which have been featured in the New York Times, the Washington Post, and twice on the cover of Time magazine, were inspired by Gordon Parks of the Civil Rights Movement, and create a vision of the past and future of Black activism and leadership in America. With contributions from twenty-six bestselling and influential writers and activists of today such as Clint Smith, DeRay Mckesson, D. Watkins, Jacqueline Woodson, Emmanuel Acho, Keeanga-Yamahtta Taylor, and more, alongside the words of past writers and activists such as Martin Luther King Jr, Frederick Douglass, Malcolm X, Maya Angelou, and John Lewis, No Justice, No Peace is a reminder of the moral responsibility of Americans to break unjust laws and take direct action. In words and pictures, No Justice, No Peace honors the connection between activism today and that of the past. If indeed hindsight is 20/20, this artistic look back is a lens on history that enlarges our understanding of the lasting predicament of racism in the United States of America. At once deeply intimate and profoundly uplifting, No Justice, No Peace is a visual tribute to Black resistance and a stern missive on the tough, but necessary, road that lies ahead.

Photography has visualized international relations and conflicts from the midnineteenth century onwards and continues to be an important medium in framing the worlds of distant, suffering others. Although photojournalism has been challenged in recent decades, claims that it is dead are premature. The Violence of the Image examines the roles of image producers and the functions of photographic imagery in the documentation of wars, violent conflicts and human rights issues; tackling controversial ideas such as 'witnessing', the making of appeals based on displays of human suffering and the much-cited concept of 'compassion fatigue'. In the twenty-first century, the advent of digital photography, camera phones and socialmedia platforms has altered the relationship between photographers, the medium and the audience- as well as contributing to an ongoing blurring of the boundaries between news and entertainment and professional and amateur journalism. The Violence of the Image explores how new vernacular and artistic modes of photographic production articulate international friction.This innovative, timely book makes a major contribution to discussions about the power of the image in conflict.

An epic visual story of wildlife photography's pioneers and world firsts. From some of the very first pictures of wild lions and tigers on record and the first-ever underwater colour photograph, right up to the spectacular images from the wildest corners of the earth that modern-day technology allows, Into the Wild is an extraordinary collection of over 250 images and 150 years of our efforts to document the natural world. Now, more than ever, these are the photographs and stories that matter. "Gemma Padley takes us on a fascinating journey through 150 years of the wildlife photography that has informed and delighted us. The text tells us not only about the images themselves, but describes how cameras gradually got faster shutter speeds, longer lenses, greater resolution and are now mostly digital. But it is the patience and endurance of the photographer who waits for hours or even days in tropical heat or arctic freeze to capture these special shots: taken at just the right moment in just the right light and from just the right angle. Into the Wild is a must-have coffee table book." Dr. Jane Goodall, DBE Founder of the Jane Goodall Institute & U.N. Messenger of Peace

How many times have you walked by homeless people and pretended not to notice them?
B. J. Lacasse, photographer and author of "The Street," decided to stop "not noticing" and photograph the homeless of Fort Worth to help the rest of us perceive those we usually try to ignore. In addition to photographing the homeless living in and around the city, she took the time to get to know them as well, keeping a journal of their stories and her observations. "The Street" is the end product of her journey into the lives of the homeless. These photos are poignant, heartbreaking, and at times difficult to look at, but in them there is also an air of hope.
With a foreword by former Fort Worth mayor Mike Moncrief, "The Street" starts with a note about change that confronts us with the face of homelessness, opening our eyes to the world that we've blatantly ignored. In "The Street," you will meet B. J.'s friend Johnny, follow the success story of Wild Bill, root for Brenda and Anna, and mourn for Mary Ann. You'll get to see them in every aspect of their lives, both positive and negative. The ending of the book is positive, with pictures that show the impact housing can have on people who--perhaps for the first time in their lives--have a home of their own.
The photographs and stories in this book will not just open your eyes--they will spur you to action.

At a time when surfing is more popular than ever, it's fitting to look back at the years that brought the sport into the mainstream. Developed by Hawaiian Islanders over five centuries ago, surfing began to peak on the mainland in the 1950s-becoming not just a sport, but a way of life, admired and exported across the globe. One of the key image-makers from that period is LeRoy Grannis, a surfer since 1931, who began photographing the longboard era of the early 1960s in both California and Hawaii. This edition brings back Grannis's hair-raising, sold-out Collector's Edition, curated from the photographer's personal archives, to showcase his most vibrant work in a compact and affordable format-from the bliss of catching the perfect wave at San Onofre to dramatic wipeouts at Oahu's famed North Shore. An innovator in the field, Grannis suction-cupped a waterproof box to his board, enabling him to change film in the water and stay closer to the action than any other photographer of the time. He also covered the emerging surf lifestyle, from "surfer stomps" and hordes of fans at surf contests to board-laden woody station wagons along the Pacific Coast Highway. It is in these iconic images that a sport still in its adolescence embodied the free-spirited nature of an era-a time before shortboards and celebrity endorsements, when surfing was at its bronzed best.

Being essential to the survival of civilisations, rivers run through mythology - think of ancient Egypt - and religion - think of the Ganges and Hinduism. And they continue to inspire writers and artists - think of Mark Twain's Mississippi and John Steinbeck's Salinas. From the Ganges rising in the Himalayas to the Nile Delta, from the Amazon rainforest to the Bow River flowing out of the Rocky Mountains, from the Rhine to the Rhone, Yangtze to the Mekong, Danube to the Volga to the Ebro, Rivers explores the grandest and most interesting rivers around the world. Arranged by continent, the book reveals the fascinating stories of how rivers have supported and shaped civilisations, the significance that rivers have gained in religion and myth, the battles that have been fought over them, the borders that they have marked, and how rivers have altered their courses, thus changing lives and livelihoods. Illustrated with more than 200 spectacular colour photographs supported by expert captions, Rivers is a fascinating journey from the mountains to the sea.

While the female nude has long played a conspicuous role in western iconography, the male nude has not always enjoyed such attention, or acceptance. This ode to the male physique celebrates the evolving, at one time illicit, art form from anonymous 19th century erotica through to contemporary work from David Hockney and Duane Michaels. Through the classic, the playful, and the provocative, it explores the compositions, postures, and role-playing of this often under-explored genre. Esteemed masters such as Herbert List, George Platt Lynes or Robert Mapplethorpe are all there, alongside Baron Wilhelm von Gloeden, famed for his homoerotic images of nude youths in classical postures in Sicily. Further highlights include illustrations from Physique Pictorial, the leading organ of the mid-50s gay scene and a pioneer in gay publishing. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

"We must remember that in the brutality of battle another such apocalypse is always just around the corner." -Sebastiao Salgado In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein's troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory. As the desperate efforts to contain and extinguish the conflagration progressed, Sebastiao Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado's smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and environmental impact, Salgado captured the terrifying scale of this "huge theater the size of the planet": the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters. Salgado's epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

These photographs are more than simply a journalistic record of conflict and turmoil. They are the product of a very personal journey in a place full of shattered dreams brought about by an endless conflict which crosses the boundaries of culture and time. It's a place where the young are robbed of their youth and the elderly stripped of their dignity. The people who live here glorify their past, curse the present, and have difficulty imagining a future. Publishing this book for the 60th anniversary serves as a way of explaining the profound sense of frustration and loss felt on both sides of the Israel/ Palestine divide.

This is the first comprehensive, large-format monograph of Bob Willoughby's photographs of film and television stars from the 1950s to the 1970s. Considered the first on-set still photographer in the film industry, Bob Willoughby photographed numerous movie stars of the era, including Audrey Hepburn, Marilyn Monroe, Jean Seberg, Elizabeth Taylor, Natalie Wood, Frank Sinatra, Cary Grant, Doris Day, James Dean, and many more. These stars continue to influence fashion and culture, from Baby Boomers all the way to Gen Z. The iconic celebrities and others featured have lasting presence, still gaining fans today via both social media and the availability of classic films through streaming channels. This compendium features vintage and never-before-seen photographs of the most beloved stars of film and television. Willoughby's images include many taken during the filming of classics such as THE GRADUATE, MY FAIR LADY, ROSEMARY'S BABY, and others. In addition to on-set photography, there are also many candid portraits of actors at home, such as those of Audrey Hepburn. This compendium includes both black-and-white and color photographs of some of the greatest icons from this Golden Age of Hollywood.