German photographer Birgit Nieser travelled across Burma on timber trucks and motorbikes capturing a way of life that is fast disappearing. Her stunning black and white images capture the essence and heart of this breathtaking country.

Striking, beautiful, and haunting, UNCOMMON GRIT takes a unique, unprecedented look at the toughest training in the military -- and the world -- from the vantage point of someone who lived through it. Retired Navy SEAL Darren McBurnett, includes vivid descriptions of both the physical and mental evolutions that occur as a result of the immensely challenging SEAL training process. His stunning photographs, partnered with his compelling insights and sharp sense of humor, allow the reader to laugh, cringe, gasp, and even envision themselves going through this extraordinary experience.

Challenging the conventional wisdom that the 1930s were dominated by literary and photographic realism, ""Sensational Modernism"" uncovers a rich vein of experimental work by politically progressive artists. Examining images by photographers such as Weegee and Aaron Siskind, and fiction by writers such as William Carlos Williams, Richard Wright, Tillie Olsen, and Pietro di Donato, Joseph Entin argues that these artists drew attention to the country's most vulnerable residents by using what he calls an ""aesthetic of astonishment,"" focused on startling, graphic images of pain, injury, and prejudice. Traditional portrayals of the poor depicted stoic, passive figures of sentimental suffering or degraded but potentially threatening figures in need of supervision. Sensational modernists sought to shock middle-class audiences into new ways of seeing the nation's impoverished and outcast populations. The striking images these artists created, often taking the form of contorted or disfigured bodies drawn from the realm of the tabloids, pulp magazines, and cinema, represented a bold, experimental form of social aesthetics. Entin argues that these artists created a willfully unorthodox brand of vernacular modernism in which formal avant-garde innovations were used to delineate the conditions, contradictions, and pressures of life on the nation's fringes.

A peace book offered by a poet, a photographer and a journalist to unmask and offer alternatives to war.
The dead ask us to wake from our living death and look through the hole in our former reality. The path away from madness starts there. The path that led us here will not lead us away. (Alan Pogue)

The sun, the moon, the seasons, our Arapaho way of life,"" writes foreworder Jordan Dresser. ""When you look around, you see circles everywhere. And that includes the lens Sara Wiles uses to capture these intimate moments of our Arapaho journeys."" In The Arapaho Way, Wiles returns to Wyoming's Wind River Indian Reservation, whose people she so gracefully portrayed in words and photographs in Arapaho Journeys (2011). She continues her journey of discovery here, photographing the lives of contemporary Northern Arapaho people and listening to their stories that map the many roads to being Arapaho. In more than 100 pictures, taken over the course of thirty-five years, and Wiles's accompanying essays, the history of individuals and their culture unfold, revealing a continuity, as well as breaks in the circle. Mixing traditional ways with new ideas - Catholicism, ranching, cowboying, school learning, activism, quilting, beadwork, teaching, family life - the people of Wind River open a rich world to Wiles and her readers. These are people like Helen Cedartree, who artfully combines Arapaho ways with the teaching of the mission boarding schools she once attended; like the Underwood family, who live off the land as gardeners and farmers and value family and hard work above everything; and like Ryan Gambler and Fred Armajo, whose love of horses and ranching keep them close to home. And there are others who have ventured into the non-Indian world, people like James Large, who brings home tenets of Indian activism learned in Denver. There are also, inevitably, visions of violence and loss as The Arapaho Way depicts the full life of the Wind River Indian Reservation, from the traditional wisdom of the elder to the most forward-looking youth, from the outer reaches of an ancient culture to the last-minute challenges of an ever-changing world.

A coffee-table book; with old photographs of miniature pots by Prof. Y. D. Pitkar, and captions in poetry by Aarti Sharma.

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?

This handsome commemorative volume contains hundreds of Allied and German photographs, many never seen before by the general public. Written by the coauthors of Gordon W. Prange's acclaimed bestsellers, At Dawn We Slept and Miracle at Midway, it is in the tradition of their highly successful series of pictorial war chronicles. With text keyed to photos on the same page, Goldstein, Dillon, and Wenger lead the reader through the dramatic experiences of D-Day combatants on both sides, from the invasion's complex preparations, to the furious combat vividly portrayed in the film Saving Private Ryan, to its ultimate result-the beginning of the end for Hitler's Third Reich.

Full Moon is a photographic journey to the Moon and back, drawn from NASA's 32,000 pictures from the Apollo missions. For the first time NASA has allowed 900 of the 'master' negatives and transparencies to be taken offsite for electronic scanning so as to produce the sharpest images of space that we have ever seen. From this selection of 'master' photographs Michael Light has distilled a single composite journey beginning with the launch, followed by a walk in space, an orbit of the Moon, a lunar landing and exploration and a return to Earth with an orbit and splash-down. Five enormous gatefold panoramas show the extraordinary lunar landscape.

These photographs reveal not only the hardware of lunar exploration in exquisite detail but also the profound aesthetics of space in what could be described as the ultimate landscape photography. The reader is encouraged to view these pictures as more than a spectacle. You start to experience them with a sense of the accompanying disorientation and excitement that the astronauts themselves would have felt. The Moon's surface and its extraordinary light are presented with awesome clarity. Full Moon was originally published in 1999 to mark the 30th anniversary of the first landing on the Moon. It was a milestone publication for the millennium, greeted with acclaim worldwide and published in eight countries.

This new compact edition preserves all the superb quality of reproduction which was so evident in the original and makes this extraordinary work available to a still wider audience.

Before even opening this award-winning book, you are struck by the sheer physical presence of Century. With 1,224 pages and 1,090 images, this colossal volume offers an informative, intimate and incisive insight into the twentieth century from the very beginning to the very end. Century is an extensive historical trajectory through the twentieth century, told through an eclectic yet exhaustive sequence of monumental photographic images. More than any other before it, the twentieth century was one of unforeseeable advances, discoveries and victories as well as unanticipated atrocities and suffering. It was also the first century to have been documented entirely through the lens of the camera. The chronological journey of Century - in a visually extraordinary sequence of images - takes us from the end of Queen Victoria's reign, through the antics of Buster Keaton and the odyssey into outer space, to the fall of the Berlin Wall and the news of September 11. Assimilated from diverse sources across the world, the photographs are instantly arresting and tirelessly thought-provoking. Selected for their capacity to expose distinctly human stories with the dynamism that drives historical change, the tome combines iconic images with photographs previously unseen, from international political events to highly personal and anonymous vignettes. Each photograph is substantiated by a brief but thorough historical explanation; every single scene is brought to life by evocative literary and political quotations. Century is as much an historical tour de force as it is an enlightening visual celebration of the past from a vast range of angles.

'A masterpiece ... a moving image of post-war Poland, and the first breathing of one of the essential voices of the twentieth century... the master of literary reportage' The Times Literary Supplement When the great traveller-reporter Ryszard Kapuscinski was a young journalist in the early 1960s, he was sent to write about the farthest reaches of his native Poland. The resulting essays brought together here reveal a place as strange as any of the distant lands he visited on foreign assignments: caught between ties to the past and dreams of escape, a country on the edge of modernity. 'Kapuscinski trascends the limitations of journalism and writes with the narrative power of a Conrad or Kipling or Orwell' Blake Morrison

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

Past the waterhole at Musmar my spirits started fighting each other again. There were turmoil's of the unknown, beauty versus the hideous, and the passion of going beyond. I closed my eyes and walked fifty paces. There was still nothing on the endless horizon. Then I sat down in the sand and drew a map of Africa - pushing my finger into Cape Town and slowly drawing it along the sand up all Eastern Africa, Ethiopia and in to the Sudan. Then, I thought I saw him, the old Sangoma, there in the Zulu hills holding his puffadder. I moved my finger northward towards Cairo. The sand was hot, but I am sure I could see his smile. Obie Oberholzer began this, his fourth major photographic odyssey, in Cape Town, on the 1st of April 1994. He meandered his way north, across plateaus and plains, through valleys and over mountains up along Africa's eastern side. There were jungles to come and vast deserts and roads that were no longer roads. He travelled the byways through South Africa, Zimbabwe, Zambia, Malawi, Tanzania, Kenya, Ethiopia, Eritria and Sudan to Egypt (via Saudi Arabia, Jordan and Israel). In the parking lot near the Great Pyramids of Giza, he wiped the dust from his dashboard. The distance read 40,000 kilometres and the time said 9 months and twenty days. This is his story.

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.

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.