An insightful new look at two renowned photographers, their interconnected legacies, and the vital documents of urban transformation that they created In this comprehensive study, Kevin Moore examines the relationship between Eugene Atget (1857-1927) and Berenice Abbott (1898-1991) and the nuances of their individual photographic projects. Abbott and Atget met in Man Ray's Paris studio in the early 1920s. Atget, then in his sixties, was obsessively recording the streets, gardens, and courtyards of the 19th-century city-old Paris-as modernization transformed it. Abbott acquired much of Atget's work after his death and was a tireless advocate for its value. She later relocated to New York and emulated Atget in her systematic documentation of that city, culminating in the publication of the project Changing New York. This engaging publication discusses how, during the 1930s and 1940s, Abbott paid further tribute to Atget by publishing and exhibiting his work and by printing hundreds of images from his negatives, using the gelatin silver process. Through Abbott's efforts, Atget became known to an audience of photographers and writers who found diverse inspiration in his photographs. Abbott herself is remembered as one of the most independent, determined, and respected photographers of the 20th century. Published in association with FotoFocus, Cincinnati Exhibition Schedule: Taft Museum of Art, Cincinnati (10/04/18-01/20/19)

This manual has been developed for the majority of practsing photographers and photojournalists in Southern Africa.

From "Midwest Book Review"This photographic history of Hiroshima and Nagasaki provides the first comprehensive photographic record of the bombings and their aftermath, presenting a history of the two cities before and after the bombs drop and also including photos of American and Japanese politicians and military men involved in the bombing. Anticipate a detailed, well-rounded title.

Recaptioning Congo places the colonial Congo's photography history in new perspectives. Six writers and everyday Congolese urban voices take an African-centered look at imperial archival images and provide them with creative, contemporary and/or literary 'captions'. The book, linked to an exhibition in the photography museum FOMU Antwerp, is based upon the extensive research of the photographic history of colonial Congo (1885 - 1960), conducted by Dr. Sandrine Colard. It contains a wealth of revealing images that highlight the relationship between past and present, Africa and Europe and Belgium and Congo. Text in English, French and Dutch.

These 125 historic photographs document the reality of the Klondike Gold Rush and tell the day-to-day struggle of the ordinary stampeder.

Weaving together the narratives of female farmers from across three continents, Women Who Dig offers a critical look at how women are responding to and, increasingly, rising up against, the injustices of the global food system. Beautifully written with spectacular photos, it examines gender roles, access to land, domestic violence, maternal health, political and economic marginalization, and a rapidly changing climate. It also shows the power of collective action. With women from Guatemala, Nicaragua, the United States, Canada, Uganda, the Democratic Republic of Congo, India, and Cuba included, it explores the ways women are responding to, as both individuals and in groups, the barriers they face in providing the world a healthy diet.

The Picture Man was Paul Buchanan (ca. 1910-1987), an itinerant photographer who, on foot, on horseback, and by car, wandered four North Carolina mountain counties from 1920 until about 1951. He had stopped making pictures for more than thirty years when Ann Hawthorne, a photographer living in the mountains, heard about Buchanan and went to see him. He told her stories--many of which are transcribed in this book--and showed her some of his negatives, which were filthy and, she thought, unprintable. Hawthorne cleaned them up, though, and discovered a splendid photographer. Buchanan didn't think of himself that way; he took pictures because it paid well, and he was a professional who took pride in what he did. Buchanan worked during years when the mountains were still relatively isolated and when many outsider photographers tended to stereotype the people who lived there, posing them in homespun instead of their new store clothes, for instance. Buchanan, born and raised in the mountains, never did that. These photographs are posed pictures, but the subjects did the posing. They chose what to wear and how to stand. In Paul Buchanan's pictures, then, we have a pure record, a gifted photographer's portrait of the people as they saw themselves. from Bruce Morton's introduction 'If I did take them, ' Paul Buchanan said, 'they're good pictures. Good and plain.' They are that, but they are something more as well. They are history, or some of the stuff that history is made of: a few more pieces of the quilt that is our memory, that tells us who we were and who we are.

Scholarship on photography's earliest years has tended to focus on daguerreotypes on metal or on the European development of paper photographs made from glass or paper negative. But Americans also experimented with negative-positive processes to produce photographic images on a variety of paper formats in the early decades of the medium. "Paper Promises: Early American Photography" presents this rarely studied topic within photographic history. The well-researched and richly detailed texts in this book delve into the complexities of early paper photography in the United States from the 1840s to 1860s, bringing to light a little-known era of American photographic appropriation and adaptation. Exploring the economic, political, intellectual, and social factors that impacted its unique evolution, both the essays and the carefully selected images illustrate the importance of photographic reproduction in shaping and circulating perceptions of America and its people during a critical period of political tension and territorial expansion. Due to the fragility of paper photography from this period, the works in this catalogue are rarely displayed, making the volume an essential tool for any scholar in the field and a very rare peek into the mid-nineteenth century.

View rarely seen locations of South Korea revealed through the photographic images of Scott Shaw.

Step behind the scenes into unseen Israel via the penetrating abstract photographs of Scott Shaw.

Step into Singapore via the piercing photographs of Scott Shaw.

In this landmark work of photo-journalism, activist and photographer David Bacon documents the experiences of some of the hardest-working and most disenfranchised laborers in the country: the farmworkers who are responsible for making California "America's breadbasket." Combining haunting photographs with the voices of migrant farmworkers, Bacon offers three-dimensional portraits of laborers living under tarps, in trailer camps, and between countries, following jobs that last only for the harvesting season. He uncovers the inherent abuse in the labor contractor work system, and drives home the almost feudal nature of laboring in America's fields. Told in both English and Spanish, these are the stories of farmworkers exposed to extreme weather and pesticides, injured from years of working bent over for hours at a time, and treated as cheap labor. The stories in this book remind us that the food that appears on our dinner tables is the result of back-breaking labor, rampant exploitation, and powerful resilience.

In 1983, when acclaimed Brazilian artist Maria Thereza Alves was an art student at Cooper Union in the United States, she returned to her native country to document the backlands of Brazil, where her family is from. Working with the local people in a collaborative process that has become the hallmark of her mature work, Alves photographed their daily lives and interviewed them to gather the facts that they wanted the world to know about them. Unlike documentation created by outsiders, which tends to objectify Brazil's indigenous and rural people, Alves's work presents her subjects as active agents who are critically engaged with history. Recipes for Survival opens with evocative, caption-less black-and-white photographs, most of them portraits that compel viewers to acknowledge the humanity of people without reducing them to types or labels. Following the images are texts in which the villagers matter-of-factly describe the grinding poverty and despair that is their everyday life-incessant labor for paltry wages, relations between men and women that often devolve into abuse, and the hopelessness of being always at the mercy of uncontrollable outside forces, from crop-destroying weather to exploitative employers and government officials. Though not overtly political, the book powerfully reveals how the Brazilian state shapes the lives of its most vulnerable citizens. Giving a voice to those who have been silenced, Recipes for Survival is, in Alves's words, "about we who are the non-history of Brazil."

No_Code is an intersectional project conceived by the Italian luxury group Tod s that examines changes in contemporary society. It is a hybrid idea that fuses emerging technology with Italian craftsmanship. Tod s No_Code has commissioned the Iranian-American photographer Ramak Fazel to take a journey on the road in Silicon Valley. The aim of the trip is to represent real life in the Valley, going beyond common media narratives. What lies behind the official images of Big Tech? How do the inhabitants of this piece of California land below San Francisco live? Where do they live? What houses do they have? What restaurants do they eat at and what cars do they drive? How do they have fun? With his inseparable analog Rolleiflex around his neck, photographer Ramak Fazel takes us on his journey and discovers some secrets in one of the most protected enclaves. This unprecedented and surprising anthropological inquiry uses the medium of photography to reveal one of the most famous places in the world.

Being There is a collection of photographic portraits of, and interviews with, NYU medical students who volunteered in the New York City Medical Examiner's morgue following 9/11, conducted by Barry Goldstein, and with a foreword by Charles Hirsch M.D., the Chief Medical Examiner of the City of New York, who ran the massive effort to identify remains. Within 24 hours of the attacks, a complex of tents and refrigerated trucks appeared on 30th St. and 1st Ave, adjacent to the Office of the Chief Medical Examiner (OCME). This makeshift compound housed the temporary morgues that would receive human remains recovered from Ground Zero. Approximately twenty NYU medical students volunteered to work alongside the understaffed OCME, sorting, cataloguing, and identifying human remains. Most of these students had been in medical school for only a few weeks. In June of 2002, Dr. Goldstein photographed and interviewed the volunteers, asking them to describe what they did, what they would remember, how they coped, and how they were changed by the experience. Barry M. Goldstein is associate professor of biochemistry and biophysics, and associate professor of medical humanities at the University of Rochester Medical Center, and adjunct professor of humanism in medicine at NYU School of Medicine. He was Artist-in-Residence at the NYU School of Medicine during the 2001-2002 academic year.

On the evening of May 31, 1921, and in the early morning hours of June 1, several thousand white citizens and authorities violently attacked the African American Greenwood District of Tulsa, Oklahoma. In the course of some twelve hours of mob violence, white Tulsans reduced one of the nation's most prosperous black communities to rubble and killed an estimated 300 people, mostly African Americans. This richly illustrated volume, featuring more than 175 photographs, along with oral testimonies, shines a new spotlight on the race massacre from the vantage point of its victims and survivors. Historian and Black Studies professor Karlos K. Hill presents a range of photographs taken before, during, and after the massacre, mostly by white photographers. Some of the images are published here for the first time. Comparing these photographs to those taken elsewhere in the United States of lynchings, the author makes a powerful case for terming the 1921 outbreak not a riot but a massacre. White civilians, in many cases assisted or condoned by local and state law enforcement, perpetuated a systematic and coordinated attack on Black Tulsans and their property. Despite all the violence and devastation, black Tulsans rebuilt the Greenwood District brick by brick. By the mid-twentieth century, Greenwood had reached a new zenith, with nearly 250 Black-owned and Black-operated businesses. Today the citizens of Greenwood, with support from the broader community, continue to work diligently to revive the neighborhood once known as 'Black Wall Street.' As a result, Hill asserts, the most important legacy of the Tulsa Race Massacre is the grit and resilience of the Black survivors of racist violence. The 1921 Tulsa Race Massacre: A Photographic History offers a perspective largely missing from other accounts. At once captivating and disturbing, it will embolden readers to confront the uncomfortable legacy of racial violence in U.S. history.

"A lucid, smart, engaging, and accessible introduction to the impact of lynching photography on the history of race and violence in America. "--Grace Elizabeth Hale, author of "Making Whiteness: The Culture of Segregation in America, 1890-1940"
"With admirable courage, Dora Apel and Shawn Michelle Smith examine lynching photographs that are horrifying, shameful, and elusive; with admirable sensitivity they help us delve into the meaning and legacy of these difficult images. They show us how the images change when viewed from different perspectives, they reveal how the photographs have continued to affect popular culture and political debates, and they delineate how the pictures produce a dialectic of shame and atonement."--Ashraf H. A. Rushdy, author of "Neo-Slave Narratives and Remembering Generations"
"This thoughtful and engaging book offers a highly accessible yet theoretically sophisticated discussion of a painful, complicated, and unavoidable subject. Apel and Smith, employing complementary (and sometimes overlapping) methodological approaches to reading these images, impress upon us how inextricable photography and lynching are, and how we cannot comprehend lynching without making sense of its photographic representations."--Leigh Raiford, co-editor of "The Civil Rights Movement in American Memory"
"Our newspapers have recently been filled with photographs of mutilated, tortured bodies from both war fronts and domestic arenas. How do we understand such photographs? Why do people take them? Why do we look at them? The two essays by Apel and Smith address photographs of lynching, but their analysis can be applied to a broader spectrum of images presenting ritual orspectacle killings."--Frances Pohl, author of "Framing America: A Social History of American Art"

RiMembra is a reportage collecting limbs scattered in places and years, connecting them to physical or mental spaces, among which there is no pertinence. Each image comes into being by itself, indipendently, but with a mutilated value which, through its lines of force, even years later, merges into another image. Diptychs and triptychs take shape through chromatic correspondences: the triptych composed of the light seeping into a temple of Taipa (2015) which seems to cross the woman's face in the sauna of Lucrino (2010) and to crash in a lake of San Francisco (2012); or conceptual ones, like the desert land in Palestine (2011), perfectly corresponding to the Wailing Wall in Jerusalem (2014). Different moments reunited over the years that lead to reflection, to the call of mind, generating happy or unhappy memories. Not surprisingly, the theme "Ri" is linked to the noun "membra" (limbs). In this way, the image is able to generate a new one and links develope along the way, creating a paradoxical collage in motion throughout time, which transcends the single still image.

Although justly renowned for its luxuriant coastal rainforest, the Pacific Northwest also sustains an array of wildflower habitats ranging from mountains to deserts to river canyons."Wildflowers of the Pacific Northwest" invites you to become part of this fascinating world.

"Lee and Young have admirably elucidated this foundational volume in the history of American photography by developing references that emerge from prior readings of these images, as well as thoughtfully producing new ways of seeing the landscapes Gardner presents. The book makes available to a wide audience one of the most important photographic records of any war and certainly the most interesting visual record of the American Civil War. This is superior scholarship."--Shirley Samuels, author of "Facing America: Iconography and the Civil War"
"Anthony Lee and Elizabeth Young's deceptively slim volume is a complex, enlightening, and elegant study of a significant Civil War-era document that also greatly enhances our understanding of nineteenth-century visual culture. The analysis and format of this collaborative effort will serve as a model for cultural scholarship for years to come."--Joshua Brown, author of "Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America"
"In this beautifully written analysis of one of the most important works of nineteenth-century American photography, Lee and Young restore Gardner's "Sketch Book" to its rightful place as a key document of American history. At once a report of a newsworthy event and a meditation on its historical meaning, Gardner's album is less unmediated reportage than a carefully constructed argument. In clear, lucid prose, Lee and Young help us understand just how Gardner made this work that helped fix the Civil War in American memory."--Martha A. Sandweiss, author of "Print the Legend: Photography and the American West"

In this wonderfully illustrated book, Joshua Brown shows that the wood engravings in the illustrated newspapers of Gilded Age America were more than a quaint predecessor to our own sophisticated media. As he tells the history and traces the influence of Frank Leslie's Illustrated Newspaper, with relevant asides to Harper's Weekly, the New York Daily Graphic, and others, Brown recaptures the complexity and richness of pictorial reporting. He finds these images to be significant barometers for gauging how the general public perceived pivotal events and crises--the Civil War, Reconstruction, important labor battles, and more. This book is the best available source on the pictorial riches of Frank Leslie's newspaper and the only study to situate these images fully within the social context of Gilded Age America. Beyond the Lines illuminates the role of illustration in nineteenth-century America and gives us a new look at how the social milieu shaped the practice of illustrated journalism and was in turn shaped by it.

Before there was Drake, there was The 6. The genesis and rise of Toronto's Hip Hop culture.Amongst the algorithmic pulsations that remap informational networks at the whim of any giant tech company, hip hop culture produces ways of knowing (and being in) the world that continually disrupt the status quo.Guided by a sense of rawness -- an unsanitized speaking of truth to power -- hip hop culture thrives outside of the formal and institutional settings which are often used to confer importance. Hip hop has no use for such pedestals. Its inherent and purposefully self-critical nature ensures that hip hop is both a widely appealing form for youth protest and a self-calibrating system of quality control.A photographic excavation of Toronto's hip hop archive, ...Everything Remains Raw draws on photographs of Kardinal Offishall, Michie Mee, Dream Warriors, Maestro, Drake, Director X, and others by Michael Chambers, Sheinina Raj, Demuth Flake, Craig Boyko, Nabil Shash, Patrick Nichols, and Stella Fakiyesi to offer a deep dive in hip hop's visual culture. An intentional intersection of the taste-making skills of the DJ and the nuanced particularism of the curator, the book and the accompanying exhibition juxtapose never-before-seen images with photojournalism, street posters, and zines to reframe and enhance popular understandings of this thing called hip hop....Everything Remains Raw accompanies an exhibition organized at the McMichael Canadian Art Collection.