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.

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."

Arriving in Iraq on the eve of the U.S. invasion, unaffiliated with any newspaper and hoping to pick up assignments along the way, Ashley Gilbertson was one of the first photojournalists to cover the disintegration of America's military triumph as looting and score-settling convulsed Iraqi cities. Just twenty-five years old at the time, Gilbertson soon landed a contract with the "New York Times", and his extraordinary images of life in occupied Iraq and of American troops in action began appearing in the paper regularly. Throughout his work, Gilbertson took great risks to document the risks taken by others, whether dodging sniper fire with American infantry, photographing an Iraqi bomb squad as they defused IEDs, or following marines into the cauldron of urban combat. "Whiskey Tango Foxtrot" gathers the best of Gilbertson's photographs, chronicling America's early battles in Iraq, the initial occupation of Baghdad, the insurgency that erupted shortly afterward, the dramatic battle to overtake Falluja, and the country's first national elections. No Western photojournalist has done as much sustianed work in occupied Iraq as Gilbertson, and this wide-ranging treatment of the war from the viewpoint of a photographer is the first of its kind. Accompanying each section of the book is a personal account of Gilbertson's experiences covering the conflict. Throughout, he conveys the exhilaration and terror of photographing war, as well as the challenges of photojournalism in our age of embedded reporting. But ultimately, and just as importantly, "Whiskey Tango Foxtrot" tells the story of Gilbertson's own journey from hard-drinking bravado to the grave realism of a scarred survivor. Here he struggles with guilt over the death of a marine escort, tells candidly of his own experience with post-traumatic stress disorder, and grapples with the reality that Iraq - despite the sacrifice in Iraqi and American lives - has descended into a civil war with no end in sight. A searing account of the American experience in Iraq, "Whiskey Tango Foxtrot" is sure to become one of the classic war photography books of our time.

The stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. The first in-depth history of British tabloid photojournalism, this book explores the origin of the unauthorised celebrity photograph in the early 20th century, tracing its rise in the 1900s through to the first legal trial concerning the right to privacy from photographers shortly after the Second World War. Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever.Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies.

Gary Otte accompanied the Aga Khan as a photographer for more than thirty years, and gained unique access to the archives of the Prince at Aiglemont in France. Presented for the first time in one volume, these images offer a narrative of the Aga Khan's life and work as a public figure and private citizen. More than 200 photos, each with a caption, span eight decades and forty-eight different countries, and include the work of Gary Otte and fifty other photographers. From his childhood years in Nairobi, Kenya, to his education at Harvard and his numerous visits to various countries all over the world, the photographs above all illustrate the Aga Khan's numerous achievements in the areas such as economic development, education, international diplomacy, humanitarian aid, and architecture in Islamic countries, especially through the actions of the Aga Khan Development Network (AKDN). This unprecedented collection of images is certain to interest anyone curious about the life of a man who has straddled the globe in more ways than one.

A glimpse into the development of the American West through startling photographs of the frontier landscape and the rich culture of American Indian tribes Best known for his Civil War photographs, Alexander Gardner (1821-1882) also created two extraordinary bodies of work depicting the transformation of the American West: Across the Continent on the Kansas Pacific Railway and Scenes in the Indian County. In 1867, after joining the survey team for what became the Kansas Pacific Railroad, Gardner photographed the path of the proposed extension, emphasizing the ease of future railroad construction and economic development, while including studies of American Indians and settlements along the way. The following year, Gardner recorded peace talks with Indian tribes at Fort Laramie, Wyoming. Distinctly sympathetic to the plight of the American Indian, Gardner made candid documentation of individual chiefs, their encampments and daily life, burial trees, and the peace proceedings themselves. With a full catalogue raisonne of these two rare series, Alexander Gardner offers a complete visual index of these remarkable photographs, made at a critical moment in the history of the American West. Distributed for the Hall Family Foundation and the Nelson-Atkins Museum of Art Exhibition Schedule: The Nelson-Atkins Museum of Art (07/25/14-01/11/15)

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.

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.

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.

Breach of Peace is a photo-history told in images old and new. The book includes the mug shots of all 328 Freedom Riders arrested in Jackson, Mississippi, along with contemporary portraits of 98 Riders, supplemented by interviews and brief bios. (The 2008 edition had 82 profiles.) In the spring and summer of 1961, several hundred Americans blacks and whites, men and women—entered Southern bus and train stations to challenge the segregated waiting rooms, lunch counters, and bathrooms. The Supreme Court had ruled that such segregation was illegal, and the Riders were trying to make the federal government enforce that decision. Though there were Freedom Rides across the South, Jackson soon became the campaign's focus. The 328 Riders arrested there were quickly convicted of breach of peace. The Riders then compounded their protest by refusing bail. ""Jail, no bail!"" was their cry, and they soon filled the city's jails. Mississippi responded by transferring them to Parchman, the infamous Delta prison farm, for the remainder of their time behind bars, usually about six weeks. New to the expanded edition are five portraits made in the maximum-security cells at Parchman during the fiftieth anniversary events of 2011. The mug shots of each Rider, bearing name, birth date, and other personal details, were duly filed away by agents of the Mississippi State Sovereignty Commission, a state investigative body dedicated to preserving white supremacy. By carefully preserving the mug shots, the Commission inadvertently created a testament to these heroes of the civil rights movement.

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.

Wherever there have been nuclear weapons and nuclear fission, there have also been cameras. Camera Atomica explores the intimate relationship between photography and nuclear events, to uncover how the camera lens has shaped public perceptions of the atomic age and its anxieties. Photographs have a crucial place in the representation of the atomic age and its anxieties. Published in collaboration with the Art Gallery of Ontario to coincide with a major exhibition there in 2014. Camera Atomica examines narratives beyond the "technological sublime" that dominates much nuclear photography, suppressing representations of the human form in favour of representations of B-52 bombers and mushroom clouds. The book proposes that the body is the site where the social environment interacts with the so-called "atomic road": uranium mining and processing, radiation research, nuclear reactor construction and operation, and weapons testing. Cameras have both recorded and - in certain instances - provided motivation for the production of nuclear events. Their histories and technological development are intimately intertwined. All photographs, including nuclear photographs, have the capability to function affectively by working on the emotions and fascinating audiences. Through a wide range of visual documentation, Camera Atomica raises questions such as: what has the role of photography been in underwriting a public image of the bomb and nuclear energy? Has the circulation of photographic images heightened or lessened anxieties, or done both at the same time? How should the different visual protocols of photography be understood?

'Precious historical documents . . . vividly human and often funny . . . these images tell the true story of a presidency that words have failed' Jonathan Jones, Guardian The definitive visual biography of Barack Obama's historic presidency, captured in unprecedented detail by his Chief White House photographer, presented in an oversize, 12"x10" exquisitely produced format, and featuring a foreword from the President himself. Pete Souza was with President Obama during more crucial moments than anyone else and he photographed them all - from the highly classified to the disarmingly candid. Obama: An Intimate Portrait reproduces more than three hundred of Souza's most iconic photographs in exquisite detail, some of which have never been published before. Souza's photographs, with the behind-the-scenes captions and stories that accompany them, document the most consequential hours of the Presidency alongside unguarded moments with the President's family, his encounters with children, interactions with world leaders and cultural figures, and more. These images communicate the pace and power of America's highest office and reveal the spirit of the extraordinary man who became President. The result is a portrait of exceptional intimacy and a stunning record of a landmark era in American history.

They are black-and-white images that bear Garcia Rodero's unmistakable mark. The viewer is captivated by the intense spirituality and the vibrant protagonism of the human body as it engages in religious rites, as captured by the photographer. In Garcia Rodero's own words: "For years, I've been trying to complete two facets of my work in which I always think jointly: body and spirit." In Lalibela, the author photographs the Coptic celbrations of Epipheny and Easter, portraying the Coptic Ethiopians, their rituals and the vehement religiosity of their praying bodies.

Since well before the debates about global warming and climate change, images have played an important part in bringing changes in nature and the environment to the attention of the general public. Moreover, most of these images have historic precursors. Gisela Parak illuminates how the synergy of photography and science gave rise to a class of photographs of environmental phenomena in the history of the United States of America, and how these images supported and instructed the scientific pursuit of knowledge, and were furthermore used as a persuasive means for directing public opinion.

This project focuses on the diversity and the dignity of the Cuban youth. The photographs are borne from the photographer's journeys to Cuba over the last twenty-five years. Jonathan Moller's photographs illustrate the vitality, intelligence and creativity of Cuba's younger generation, along with their great aspirations and complex challenges. The book offers an extensive tour of the streets of Havana and Holguin; the lands and the sugar cane fields of Matanzas and Mayabeque; the Pride March and the May Day parade; the foyers and classrooms of the University of Lausanne; the hospitals, the churches, and factories; and, for the first time in history, the popular neighborhoods, the beach and the homes of young Cubans.