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.

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.

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.

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.

The Golden Valley is an exploration and a celebration of a small south Wales valley. The site of ancient tombs and settlements, its rural life was for just over a century taken over by the brutal occupation of coal mining before abandonment once more to nature. In well-chosen words and stunning photographs this is the story of one place, and many.

An outstanding photography book documenting a movement that rocked the world. Syd Shelton: Rock Against Racism is a body of photographs that Syd Shelton produced for and about the British Rock Against Racism movement (RAR) of 1976-1981. For Shelton, this work was a socialist act, what he calls a "graphic argument," on behalf of marginalized lives. His practice of photographic activism began in 1973 when he was driven to document the socio cultural and political dynamics expressed on the streets of Sydney by urban Australian Aboriginal communities, the working class, and the architectural landscapes of these groups. Shelton's first solo show in 1975, "Working Class Heroes" at the Sydney Film-makers Cooperative, established his distinct activist eye. Shelton joined RAR in early 1977 on his return to England from Australia. He did so because he found his birthplace a more racist country than it had been when he left. This was marked by the increased political presence of the National Front, notably its gain of some 119,000 votes in the Greater London Council Elections of May 1977. Shelton, like millions of others, feared for the future of multi-cultural Britain. His contribution to RAR was to be on the London committee, to create graphic material with other RAR members such as the RAR publication "Temporary Hoarding," posters' badges and his photography-RAR did not have an official photographer. Shelton's instinctive need to document RAR-its events, contributors, and supporters-has resulted in the largest collection of images on the movement. Alongside his documentation of RAR, Shelton took photographs of what he calls "the contextual images," the lives and landscapes that were defined by others as "different," and that often fueled racist acts of violence by simply being. What is presented here are Shelton's authoritative visual statements as participant-photographer on the social tempo in Britain at this time and the activist potency of RAR. As collective activism, RAR's success was dependent on individual contributions to fuel the movement's activities across the country. This unique national, and eventually international, charge incorporated the visual dynamic of how Black and white RAR contributors and participants styled their bodies as another antagonistic tool against racism. These were acts of style activism-the making of an activist identity through the considered composition of clothes, accessories, hairstyles, makeup, and body language. Shelton's images prompt us to remember that the individuals at RAR carnivals, gigs, and demonstrations were the event-they were RAR. There are many versions of what RAR was and its legacy. Syd Shelton: Rock Against Racism provides an auto/biographical telling of that historical moment. It reflects on how Shelton's work as a photographer contributed towards social change at a critical moment of political and racial tension in Britain.

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.

While often some of the most beautiful, opulent buildings in a town or city, a theatre is so much more than a space for the performance of a play. It is a cultural hub, a meeting place for people from all walks of life and, through the stories told there, brings people together in numerous ways. Indeed, theatres have been doing so for over two millennia. The theatre comes in many forms. From the more rigid and repeated (but no less attractive) designs of Greek and Roman theatres, the buildings that now house our shared cultural output boast some of the finest, most creative structures in the world. Huge and cathedral-like or modest, concrete and futuristic or neo-Renaissance, we are lucky that the physical constructions themselves recapture the ambition of the arts performed within. With chapters organised by continent and featuring theatres and opera houses - and any space for the performing arts - from the Americas, Africa, Asia, Europe and Australasia, Amazing Theatres of the World includes modern masterpieces and ancient remains, art deco delights and Baroque classics, taking in centuries of theatre building. Both the exterior and the interior of buildings are examined, as well as behind-the-scenes shots of dressing rooms and the mechanics of putting on a show. In so doing, we catch a glimpse of how the performing arts and their home has evolved over time. Illustrated with more than 190 photographs, Amazing Theatres of the World includes more than 150 of the most stunning theatres and opera houses.

When photographer Anthony Dawton realised how dramatically homelessness had increased in London, he took to the streets with his cam-era. For years he had taken photographs in areas of need worldwide, but after spending some time in his home city, he noticed how many people were living on its streets. He embarked on a new project to raise awareness for a city he no longer recognised: NOTLondon. Anthony Dawton photographs his subjects with a beauty and dignity that many of them are often denied. His portraits capture the strength and power of humanity as well as its vulnerability. By accompanying the image with the person's name and their story, Anthony gives voice to the voiceless and attempts to offer the homeless a place, a home on the page. Governmental institutions turn a blind eye to the homeless, leaving the work up to charities. Homeless shelters are rife with substance abuse, making them a dangerous place for those trying to overcome addiction. Homelessness becomes a vicious cycle and many find it difficult to break free. Since the start of the pandemic, over 70,000 households in the UK have been made homeless. Dawton's photographs are mesmerising, and as we stare into the eyes of their subjects, we're faced with reality: this is a problem that's getting worse and needs urgent attention. NOTLondon is a provoking campaign to help the city's most vulnerable and to address the fact that, despite its wealth, the city is not providing for those most in need. NOTLondon includes an introduction by Leilani Fahra, former UN special Rapporteur on the Right to Housing and the Global Director of The Shift. Having dedicated her life's work to changing attitudes to homelessness and attacking the governmental systems and structures which perpetrate homelessness, she shares her thoughts in NOTLondon, highlighting the importance of Dawton's project.

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.

From 1945 to 1950, during the formative years of his career, Stanley Kubrick worked as a photojournalist for "Look" magazine. Offering a comprehensive examination of the work he produced during this period--before going on to become one of America's most celebrated filmmakers--"Stanley Kubrick a""t "Look""" Magazine" sheds new light on the aesthetic and ideological factors that shaped his artistic voice. Tracing the links between his photojournalism and films, Philippe Mather shows how working at "Look" fostered Kubrick's emerging genius for combining images and words to tell a story. Mather then demonstrates how exploring these links enhances our understanding of Kubrick's approach to narrative structure--as well as his distinctive combinations of such genres as fiction and documentary, and fantasy and realism. Beautifully written and exhaustively researched, "Stanley Kubrick a""t "Look""" Magazine" features never-before-published photographs from the "Look" archives and complete scans of Kubrick's photo essays from hard-to-obtain back issues of the magazine. It will be an indispensable addition to the libraries of Kubrick scholars and fans.

?????? 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)

Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography's relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.

This book is a first-of-a-kind comprehensive, photographic essay regarding surviving artifacts of Custer and the Battle of the Little Big Horn - some never before published. Years were spent photographing and acquiring artifacts in museums and private collections, which are presented here in vivid, high-resolution color photographs, shot from various angles with the researcher and collector in mind. The photographs are catalogued under chapters devoted to the battle, Custer's 7th Cavalry, and the Lakota and Cheyenne warriors who fought them. Hundreds of photographic images accompanying the chapters are filled with informative descriptions regarding physical properties, history, origin of the items, and the stories behind them. This definitive work will provide a valuable resource for military researchers and historians, as well as an aesthetically stunning photographic essay to compliment any collection or library.

Twenty years after the end of the Bosnian War, this photographic journal aims to explore the changing faces of the cities and landscapes of Bosnia, as well as the country as a whole. These moving and haunting images are brilliantly captured and displayed by award-winning photographers Stephanie Borcard and Nicolas Metraux.

For five consecutive years Dublin-based photojournalists Tomasz Bereska and Tomasz Szustek have travelled to Croagh Patrick on Reek Sunday to take photographic portraits of some of the 20,000+ pilgrims who climb the 'Holy Mountain', focusing on the incredible diversity and different backgrounds of the participants. In Atlantic Tabor they present 60 stunning colour portraits of the pilgrims, plus an additional 60 atmospheric B&W photos that add to the story. To complement the beautiful images, the photographers invited Dr Patrick Claffey, Adjunct Assistant Professor at the Department for Study of Religions and Theology at Trinity College Dublin to contribute to the project. Dr Claffey provides a brilliant analysis of pilgrimage phenomena in general terms worldwide, as well as more detailed exploration of Croagh Patrick in particular. He explains how pilgrimages were once primarily sacred but increasingly have become secular; he lists many of the holy mountains of the world and their associated pilgrimages; he describes the myths, prehistory and early history associated with Croagh Patrick; he defines the role 'the Reek' has played over the centuries in Connaught Catholicism; and he shows in detail the various paths one can take to climb Croagh Patrick and what to expect at the summit.

An argument that anyone can pursue political agency and resistance through photography, even those with flawed or nonexistent citizenship. In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone-even a stateless person-who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women-from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship? Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Francois Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history-and the consequences of how these events and their victims have been represented.

A second volume of photos from the archive of the oldest off-road cycling club in the world is a further look into an unseen corner of cycling, social history and outdoor culture. Since 1955 the members of the Rough-Stuff Fellowship - the world's oldest off-road cycling club - have explored the 'rough stuff' where the roads end. From tight thickets to sheer rock faces and the wide open spaces of the mountains, these pioneers of riding off the beaten track have recorded their adventures at home and abroad in stunning photos and ride reports.