Featuring 100 of the best photographs ever captured on camera, Look At This If You Love Great Photography is a must read for anyone who appreciates the power of the image. In this beautiful guide to some of the most compelling photographs ever taken, photography journalist Gemma Padley offers concise, insightful summaries of just what it is that makes each one so special. Having written for some of the most important publications on modern photography, Gemma draws on her expert knowledge to reveal the fascinating stories behind these incredible pictures, focusing in on why each image chosen represents such a high point in photographic history. Uniquely curated to offer a fresh perspective on the medium, expect to see pictures from legends of the art form, including Ansel Adams and Martin Parr, alongside cutting-edge examples from the studios of the most creative photographers operating today. Whether it's gut-punching photojournalism that changed public opinion and made us question who we are, or images that rewrite the rules of photography and blur the lines between other art forms, this is a penetrating rundown of the pictures that really matter and you need to see them.

Publishing the results of the most recent annual World Press Photo Contest, this exceptional book contains the very best press photographs from the year 2016 - pictures submitted by photojournalists, picture agencies, newspapers and magazines throughout the world. Selected from thousands of images, these prizewinning photos capture the most powerful, moving and sometimes disturbing images of the year.

Thatcher’s Children was born out of a series first made in 1992 focusing on two parents and six children living in a hostel for homeless families in Blackpool, England. The project was made in response to a speech by Peter Lilley, then Secretary of State for Social Security, in which he announced his determination to ‘close down the something-for-nothing society.’ French newspaper Libération dispatched a journalist to northern England to find out what this society looked like, and Easton was commissioned to take the accompanying photographs. His resulting monochrome images of the overcrowded two-bedroom council flat in Blackpool sparked a reaction by both the public and the press. His images attached human faces and nuanced realities to a group of people casually maligned by politicians and media as an ‘underclass of scroungers.’

Standing on the Edmund Pettus Bridge in Selma, Alabama, in 2017, photographer William Abranowicz was struck by the weight of historical memory at this hallowed site of one of the civil rights movement's defining episodes: 1965's "Bloody Sunday," when Alabama police officers attacked peaceful marchers. To Abranowicz's eye, Selma seemed relatively unchanged from its apperance in the photographs Walker Evans made there in the 1930s. That, coupled with an awareness of renewed voter suppression efforts at state and federal levels, inspired Abranowicz to explore the living legacy of the civil and voting rights movement through photographing locations, landscapes, and individuals associated with the struggle, from Rosa Parks and Harry Belafonte to the barn where Emmett Till was murdered. The result is This Far and No Further, a collection of photographs from Abranowicz's journey through the American South. Through symbolism, metaphor, and history, he unearths extraordinary stories of brutality, heroism, sacrifice, and redemption hidden within ordinary American landscapes, underscoring the crucial necessity of defending-and exercising-our right to vote at this tenuous moment for American democracy.

"You’ll be in awe of the work of the American rancher and wildlife alike." — Fox News "... Krantz delivers a true sense of not only the size and scope of Art and Catherine Nicholas’ Wagonhound Ranch, but also the deep sense of stewardship the Nicholas family and their crew bring to ranching every day." — Western Horseman "...Anouk’s photographs tell a visual story of the rancher and his relationship with the land." — The Eye of Photography "A stunning photographic collection that celebrates the reality of ranch life." — Big Sky Journal Wagonhound is a historic working ranch spanning over 300,000 acres in Wyoming, where the elevation ranges from 5,000 feet to 9,000 feet; where talented, strong, and steady quarter horses supplied by the ranch-owned remuda are required to help the cowboys manage the herds in a spectacularly rugged terrain. Catherine and Art Nicholas, who took the reins of the historic ranch in 1999, take the stewardship of the land very seriously — their vision has been to honour tradition, preserve the land, which is steeped in history, and return it to a pristine condition. In Ranchland: Wagonhound, Anouk Krantz’s beautiful photography reveals the daily and seasonal rhythms of the ranch and the daily lives of its men and women cowboys, whose long hard days — starting in the dark and finishing in the dark — involve everything from cattle driving to branding to training the best quarter horses in the country and more. Set in a stunning large-format book, these photographs and the stories offer an inspiring new perspective into today's cowboy/ranching culture and land stewardship of the American West. 

Two acclaimed South African artists offer a cross-generational dialogue on history, memory, and the power of self-narration Three decades after the dismantling of apartheid began, South Africa’s so-called “born free� generation has reached adulthood and its artists have used their work to navigate their difficult inheritance. At the same time, the historical distance between their experience and that of an older generation grows. This book brings together two of South Africa’s most acclaimed contemporary artists to reflect upon this moment. In their respective practices, Sue Williamson (b. 1941) and Lebohang Kganye (b. 1990) incorporate oral histories into film, photographs, installations, and textiles to consider how, just as formal statements determine collective histories, so the stories our elders tell us shape family narratives and personal identities. Exploring the complexities involved in the passing down of memories, their works implicitly and explicitly address racial violence, social injustice, and intergenerational trauma. This richly illustrated catalogue features essays that consider themes of voice, testimony, ancestry, and care, and a dialogue between Kganye and Williamson that explores how art can mobilize the healing powers of conversation. Distributed for the Barnes Foundation Exhibition Schedule: The Barnes Foundation, Philadelphia (March 5–May 21, 2023)

The best photo assignments from the Monocle archive, published to mark the magazine's fifteenth anniversary. Back in 2007 the first issues of Monocle magazine hit newsstands and kiosks around the globe. At its core was a pledge to commission all original photography - capturing the world on film, on the ground and in the moment. The cover of that first issue featured a Japanese helicopter pilot from the country's defence force - taken as part of a 10-day reportage assignment for both photographer and writer. In the years since, Monocle has continued in its pursuit of documenting the world through its unique lens - from embassies and residences to world leaders and cultural stars. Each issue has featured a dedicated photographic Expo section celebrating lesser-known locales, obscure events and curious characters through truly outstanding photography. Alpine wrestlers, Syrian outposts, French legionnaires, noodle-makers, game show hosts and private member's clubs have all graced the pages. The Monocle Book of Photography draws on the best of these photographic stories from an archive a decade and a half in the making. A handsome linen bound edition with the highest quality gloss paper and printing, the book also features supporting text about the photo assignments and the stories behind them, including first hand accounts from the photographers involved.

Frontkampfer I: Blitzkrieg 1939-1942 is a collection of rare photographs, many of which have never been published before, highlighting the German war machine in the early years of the Second World War. Beginning in September 1939 with the invasion of Poland, the reader will follow the German military as it conquers France, the Balkans, and North Africa, before sweeping deep into the Soviet Union during Operation Barbarossa. Frontkampfer I: Blitzkrieg 1939-1942 reaches its crescendo as the German military occupies the Caucasus Mountains region and advances to the frontier of Asia, before being repelled by the Red Army at the horrific Battle of Stalingrad on the banks of the Volga River in the winter of 1942. Frontkampfer I: Blitzkrieg 1939-1942 offers the reader a glimpse into the conditions of the opening years of the war in photographs directly from the albums of the men who were there. From heavy tanks to small arms to uniforms and equipment, Frontkampfer I: Blitzkrieg 1939-1942 is a collection of rarely seen German photographs of World War Two, with pertinent historical background, and a study of the photographs themselves.

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.

Whether inscribed in physical media, projected on surfaces, or viewed on digital devices, we find ourselves constantly inundated with streams of visual data. Yet, we know surprisingly little about how these images are made, especially in journalistic contexts where representations are long-lasting and where repercussions can be dramatic. To See and Be Seen considers some of the ideological, aesthetic, pragmatic, institutional, cultural, commercial, environmental, and psychological forces that consciously or otherwise shape the production of news images and subsequently influence their reception. T. J. Thomson examines the expectations, experiences, and reactions of those depicted by visual journalists and considers other relevant factors: how do everyday people perceive cameras and those who operate them? How are identities visually represented and presented to different audiences? And how does the physical and the socially constructed environment shape those depictions? The results of Thomson's research provide one of the first empirical and real-time glimpses into the experience of being in front of a journalist's lens. To See and Be Seen enables us to understand the stories behind images by considering the environment in which such images are made, the exchange (if one occurred) between the camera-wielding observer and the observed, the identities of both parties, and how they react to the representations that are created.

Abandoned Melbourne presents a collection of photographs of the perennially awarded world's most liveable city rendered empty, abandoned and in Covid lockdown during 2020. Abandoned Melbourne depicts Melbourne vacant, with the CBD's places and spaces, customarily buzzing, rendered motionless and without life. Landscape photographer Gavin John, a long-term resident of Melbourne, turned his camera and his focus onto vistas of a different nature and reveals downtown Melbourne as it has never been witnessed before.

From abandoned structures that have long ceased to take you anywhere to today's feats of engineering, Bridges is a pictorial celebration of 150 suspension bridges, iron bridges, stone bridges, aqueducts, viaducts, railway bridges, footbridges and rope bridges. Organised in sections such as abandoned bridges, classic bridges and superstructures, the book contains an immense range of wooden, stone, iron, steel and concrete bridges. There are tiny village bridges and vast bridges, narrow bridges and motorway-wide bridges, bridges that act as dams and bridges that support buildings, covered bridges, famous bridges and little-known gems. From San Francisco's Golden Gate bridge to the 21st century Millau Viaduct in France - the tallest bridge in the world, from the Roman aqueduct in Segovia, Spain, to farmers still building bamboo bridges, the book draws examples from all over the world. Ranging from the Rocky Mountains to Siberia and Iran, a picture emerges of not only how new technologies have made it possible for bridges to be built, but also how bridges have themselves been catalysts for social change. And when they have been abandoned, such as in former gold rush towns, these bridges tell their own stories of how the world moves on. Presented in a landscape format and with 150 outstanding colour photographs, Bridges is a stunning collection of images.

The stunning photographs in this book are not only an anthropological study on the types of work done all over the world and the different societies which undertake them, but are also a real look at work that is still carried out by manual labour, usually away from the Western World. This fascinating collection reveals the intricacies of these jobs and the people who perform them, looking in detail at farmers, tailors, mechanics and a huge number of other industries where the physical work of men and women create communities who pride themselves on ingenuity and creativity. ' People at Work' is a captivating look at the socioeconomic development of different communities around the world and how they are fundamentally shaped by the type of work they perform. The evolution of technology in the modern age has meant that most job titles have become ambiguous and the notion of work in the traditional sense has been lost to a certain extent. This beautiful volume looks at the hands-on approach to work in an innovative way. AUTHOR: Jago Corazza is a journalist and publicist, but above all, is a photographer and traveller who began contributing to an important photo agency in Bologna at 15. He has made documentaries, in more than 120 countries. He has produced material for CNN Turner classic Movies and has been awarded three 'Telegatti' prizes, and, in the US, the Telly Award for culture. Corzza is President of the Italian Association of Nature Photography, and is editor for the anthropology section of Oasis review, as well as publishing various other magazines, such as White Star-National Geographic, for which he produced important anthropological reports on the last prehistoric tribes on earth. He is a UNICEF ambassador and collaborator. For White Star he has published 'This is My Home', Journey through the Evolution of Human Dwellings. Greta Ropa is an author and foreign language correspondent with a degree in human resource training and selection studies. She has many years' experience in the fashion and advertising sector and has worked as a photographer and a model. With a passion for writing, travelling and photography, she has worked all over the word in TV and film production and has produced various monographs for White Star-National Geographic and Oasis. She is a UNICEF ambassador and collaborator. Full colour photos

Photojournalism Disrupted addresses the unprecedented disruptions in photojournalism over the last decade, with a particular focus on the Australian news media context. Using a mixed methods approach, the book assesses the situation facing press photographers and their employers in the supply of professional imagery for news storytelling. Detailed qualitative case studies looking at special events and crisis reporting complement a longitudinal study of sourcing practices around everyday events. Additionally, interviews with industry professionals offer insights into how news organizations are managing significant structural change. Ultimately, the book argues that photojournalism is being reshaped in line with wider industrial disruptions that have led to the emergence of a highly casualized workforce. As a comprehensive study of contemporary photojournalism practices, Photojournalism Disrupted is ideal for scholars and students internationally, as well as (photo)journalists and media professionals.

Reeling from a brutal childhood, immersed in a world of go-go dancers and hustlers, dirty cops and gangsters, Stephanie Johnson was determined to become the fiercest thing the city had ever seen. And she succeeded. This is her story. The storytelling phenomenon Humans of New York has captivated a global audience of millions with personal narratives that illuminate the human condition. But one story stands apart from the rest . . . She is a woman as fabulous, unbowed, and irresistible as the city she lives in. Meet Tanqueray. Humans of New York featured a photo of a woman in an outrageous fur coat and hat she made herself. She instantly captured the attention of millions. Her name is Stephanie Johnson, but she's better known as 'Tanqueray,' a born performer who emerged from a troubled youth to become one of the best-known burlesque dancers in New York City. Real, raw, and unapologetically honest, this is the full story of Tanqueray as told by Brandon Stanton - a memoir filled with never-before-told stories of Tanqueray's struggles and triumphs through good times and bad, personal photos from her own collection, and glimpses of New York City from back in the day when the name 'Tanqueray' was on everyone's lips.

This book captures the core of who Joe Biden is as a lifelong public servant, and who he would be as America's next President--featuring photographs from his eight years as one of America's most consequential vice presidents and partner to Barack Obama. These visually arresting photographs and behind-the-scenes stories show Biden stepping into his own as a leader ready to guide a nation in distress. They also reveal a new dimension to Biden's humanity--as a man whose decency and kindness shines through both tragedy and triumph, whose working-class roots inform his values, and whose candor and approachability enable him to connect with citizens of all kinds. This book traces Biden's vice presidency in unprecedented detail, shedding light on who he is as a political leader and patriot, and also as a father, husband, and friend. It will delight and fascinate readers who yearn for the return of honesty and ethics to the nation's highest offices. As we draw closer to the 2020 presidential elections, this portrait of one of the most influential names in American politics is more timely and important than ever.

Winner of the 2018 Media Ecology Association's Erving Goffman Award for Outstanding Scholarship in the Ecology of Social Interaction Winner of the Eastern Communication Association's Everett Lee Hunt Award A behind-the-scenes account of how death is presented in the media Death is considered one of the most newsworthy events, but words do not tell the whole story. Pictures are also at the epicenter of journalism, and when photographers and editors illustrate fatalities, it often raises questions about how they distinguish between a "fit" and "unfit" image of death. Death Makes the News is the story of this controversial news practice: picturing the dead. Jessica Fishman uncovers the surprising editorial and political forces that structure how the news and media cover death. The patterns are striking, overturning long-held assumptions about which deaths are newsworthy and raising fundamental questions about the role that news images play in our society. In a look behind the curtain of newsrooms, Fishman observes editors and photojournalists from different types of organizations as they deliberate over which images of death make the cut, and why. She also investigates over 30 years of photojournalism in the tabloid and patrician press to establish when the dead are shown and whose dead body is most newsworthy, illustrating her findings with high-profile news events, including recent plane crashes, earthquakes, hurricanes, homicides, political unrest, and war-time attacks. Death Makes the News reveals that much of what we think we know about the news is wrong: while the patrician press claims that they do not show dead bodies, they are actually more likely than the tabloid press to show them-even though the tabloids actually claim to have no qualms showing these bodies. Dead foreigners are more likely to be shown than American bodies. At the same time, there are other unexpected but vivid patterns that offer insight into persistent editorial forces that routinely structure news coverage of death. An original view on the depiction of dead bodies in the media, Death Makes the News opens up new ways of thinking about how death is portrayed.

"This is a book ripped from the headlines, from Black Lives Matter to recently thriving downtowns stripped of office workers and service workers. Those catching the brunt of it all, those with the steepest hills to climb, may have been fucked at birth. But for everyone, as Maharidge observes, the feeling of safety is folly. A sharp wake-up call to heed the new Depression and to recognize the humanity of those hit hardest." -Kirkus Reviews, STARRED REVIEW "Dale Maharidge takes us coast to coast in 2020, down highways along which he first reported decades ago. His honed class awareness-unrivaled among contemporary journalists-reveals that today's confluent health, economic and social crises are the logical conclusion to generations of unvalidated, untreated despair in a wealthy nation. Forget hollow commentary from detached television news studios in New York City. Fucked at Birth is the truth." -Sarah Smarsh, Heartland: A Memoir of Working Hard and Being Broke in the Richest Country on Earth Pulitzer prize-winning journalist Dale Maharidge has spent his career documenting the downward spiral of the American working class. Poverty is both reality and destiny for increasing numbers of people in the 2020s and, as Maharidge discovers spray-painted inside an abandoned gas station in the California desert, it is a fate often handed down from birth. Motivated by this haunting phrase-"Fucked at Birth"-Maharidge explores the realities of being poor in America in the coming decade, as pandemic, economic crisis and social revolution up-end the country. Part raw memoir, part dogged, investigative journalism, Fucked At Birth channels the history of poverty in America to help inform the voices Maharidge encounters daily. In an unprecedented time of social activism amid economic crisis, when voices everywhere are rising up for change, Maharidge's journey channels the spirits of George Orwell and James Agee, raising questions about class, privilege, and the very concept of "upward mobility," while serving as a final call to action. From Sacramento to Denver, Youngstown to New York City, Fucked At Birth dares readers to see themselves in those suffering most, and to finally-after decades of refusal-recalibrate what we are going to do about it.

?????? One of Britain's leading contemporary photographers, Nick Waplington is known for photographing British social scenery and his life and close circle of friends and family in East London, where he lives and works. ?????? Double Dactyl accompanies his solo exhibition of the same name at The Whitechapel Gallery, London. ?????? Waplington first came to public notice with Living Room (1991), a photographic portrait based on the everyday lives of two close-knit families in Nottingham, England. ?????? Since then he has often worked in book form. Double Dactyl expands on previous work, now referencing the grand traditions of history painting, classical mythology and landscape photography. ?????? This new work also explores notions of photographic "reality," by working with constructed and manipulated images taken from his own large format photographs. ?????? Double Dactyl features 56 colour reproductions of this new body of work, its surreal and often subtle use of manipulation confirming Waplington's idiosynchratic approach to contemporary photographic practice. Nick Waplington has exhibited internationally including at Deitch Projects, New York, The Philadelphia Mudeum of Modern Art and the 2001 Venice Biennale. He lives and works in London. Also Published by Trolley You Love Life (2005) Learn How To Die The Easy Way (2001)