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.

The book sensitively documents the events of the 80's, the fall of the Berlin Wall and the subsequent upheavals in the lives of the people. It takes up various stations of recent German history and reveals situations of radical change. Jansson has a very special point of view, always focusing on the people who shape the historic events. She is always very close to the action with her camera, creating proximity and opening doors for encounters. An extensive series leads us into the life of the divided city of Berlin, East and West with their protest and resistance movements. We do not see the well-known photos of mass demonstrations, because the focus is on the feelings of everyone involved in a highly politicized time -in East and West. Jansson's view points to a sometimes absurd reality in the shadow of the cold war. Jansson dedicated another series to the opposition in the former GDR. They are subtle portraits of those people who have helped to change society and make a radical change. These series are supplemented by situations which she has captured in Eastern Europe.

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.

For more than forty years, Helen M. Stummer has captured images depicting the dignity, humanity, and suffering of people living in conditions of poverty. Her efforts taught her to understand firsthand the resilience of people living in insufferable conditions. In her inspiring memoir, Risking Life and Lens, Stummer recounts her experiences as a socially-concerned documentary photographer whose passion for her work overcame her fears. Stummer's images, from the mean streets of Manhattan and Newark, New Jersey, to the back woods of Maine and the mountains of Guatemala, expose the myths of poverty and serve as a metaphor for her challenges in her own life. The 159 photographs reproduced here recount Stummer's journey as an artist and her personal quest for truth. Risking Life and Lens shares Stummer's work and educational efforts and it provides valuable insights about race, class, and social justice-issues that continue to divide the country and the world. Her work has created change in both her own life and the lives of those who view it.

"Sinatra with a cold is Picasso without paint, Ferrari without fuel-only worse. For the common cold robs Sinatra of that uninsurable jewel, his voice, cutting into the core of his confidence." - Gay Talese In the winter of 1965, writer Gay Talese set out for Los Angeles with an assignment from Esquire to write a major profile on Frank Sinatra. When he arrived, he found the singer and his vigilant entourage on the defensive: Sinatra was under the weather, not available, and not willing to be interviewed. Undeterred, Talese stayed, believing Sinatra might recover and reconsider, and used the meantime to observe the star and to interview his friends, associates, family members, and hangers-on. Sinatra never did grant the one-on-one, but Talese's tenacity paid off: his profile Frank Sinatra Has a Cold went down in history as a tour de force of literary nonfiction and the advent of the New Journalism. In this illustrated edition, Frank Sinatra Has a Cold is published with an introduction by Talese, reproductions of his manuscript pages, and correspondence. Interwoven are photographs from the legendary lens of Phil Stern, the only photographer granted access to Sinatra over four decades, as well as from top photojournalists of the '60s, including John Bryson, John Dominis, and Terry O'Neill. The photographs complement Talese's character study, painting an incisive portrait of Sinatra in the recording studio, on location, out on the town, and with the eponymous cold, which reveals as much about a singular star persona as it does about the Hollywood machine.

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.

Tired of reading negative and disparaging remarks directed at Indigenous people of Winnipeg in the press and social media, artist KC Adams created a photo series that presented another perspective. Called "Perception Photo Series," it confronted common stereotypes of First Nation, Inuit and Metis people to illustrate a more contemporary truthful story. First appearing on billboards, in storefronts, in bus shelters, and projected onto Winnipeg's downtown buildings, Adams's stunning photographs now appear in the book, Perception: A Photo Series. Meant to challenge the culture of apathy and willful ignorance about Indigenous issues, Adams hopes to unite readers in the fight against prejudice of all kinds. Perception is one title in The Debwe Series.

In this carefully curated and beautifully presented photobook, Ariella Azoulay offers a new perspective on four crucial years in the history of Palestine/Israel. The book reconstructs the processes by which the Palestinian majority in Mandatory Palestine became a minority in Israel, while the Jewish minority established a new political entity in which it became a majority ruling a minority Palestinian population. By reading over 200 photographs from that period, most of which were previously confined to Israeli state archives, Azoulay recounts the events and the stories that for years have been ignored or only partially acknowledged in Israel and the West. Including substantial analytical text, this book will give activists, scholars, and journalists a new perspective on the origins of the Palestine-Israel conflict.

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 book is the fruit of twelve years' study of the rituals performed by ethnic-Igbo Nigerians living in Italy. It is first and foremost a journey through the customs, rites, and ceremonies carried out in makeshift places of worship created by men and women who gather together on abandoned football pitches or in hangars. Since human vicissitudes have led to many of these rites no longer being performed in Africa, this research also tells us much about the role of memory and the importance of what once was; these rituals have now become part of our postmodern culture. The desire to reproduce an event as it was experienced in its place of origin is an unavoidable instinct that tends to build an elementary form of transnationality. These Nigerians thus turn into "healthy bearers" of a particular culture in their relations with the host population or with their compatriots, who today often seem cut off from their roots. It is ritual that makes a place sacred: the Nigerian community performs its rituals in a particularly run-down environment, but man s action turns it into a place of purity. This sense of sacredness pervades the photographs of Aniello Barone, where the darkness of the night is lit up by a "brightness" that seems to emanate from the soul of succour. The observer, the witness to the rite, man, the camera, and the actors end up as part of the same symbolic 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.

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.

This book is part of the Images of England series, which uses old photographs and archived images to show the history of various local areas in England, through their streets, shops, pubs, and people.

Singapore: small tropical island and dynamic city, where some of Asia's Tallest buildings tower over modest quayside shophouses. Few landscapes, coastlines have been transformed as rapidly as those of Singapore. Seen from the air, the island revealed as a spectacular landscape of intricate patterns, rich textures and diverse colors. Stunning images show the true and unexpected variety of this city-state, providing a fresh perspective from which to view its landmarks and to explore the less-well-known sights of its industry, agriculture and outlying islands. In Over Singapore, award-winning Singaporean photographer Richard W. J. Koh showcases the dynamism of this ever-changing nation. His photographs are complemented by the insightful fext and captions of diplomat and international lawyer Professor Tommy Koh who prvides reavealing historical introduction to the book and an insider's guide to the north, south, east and west of the country.

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.

"The Realisms of Berenice Abbott" provides the first in-depth consideration of the work of photographer Berenice Abbott. Though best known for her 1930s documentary images of New York City, this book examines a broad range of Abbott's work - including portraits from the 1920s, little known and uncompleted projects from the 1930s, and experimental science photography from the 1950s. It argues that Abbott consistently relied on realism as the theoretical armature for her work, even as her understanding of that term changed over time and in relation to specific historical circumstances. But as Weissman demonstrates, Abbott's unflinching commitment to 'realist' aesthetics led her to develop a critical theory of documentary that recognizes the complexity of representation without excluding or obscuring a connection between art and engagement in the political public sphere. In telling Abbott's story, "The Realisms of Berenice Abbott" reveals insights into the politics and social context of documentary production and presents a thoughtful analysis of why documentary remains a compelling artistic strategy today.