Andrew David Lytle produced thousands of photographic images in the sixty years during which he lived in Baton Rouge and operated Lytle Studio. His heirs, alas, reportedly shattered his glass-plate negatives by dropping them down a dry well soon after his death, not realizing their value. Andrew D. Lytle's Baton Rouge preserves some of the only images that remain, a vintage treasure for contemporary viewers.

These 120 photographs give entr?e into life in Louisiana's capital city from the 1860s through the early 1900s. They compose the largest extant collection of photos created in a professional studio in nineteenth-century Baton Rouge. Together they capture the day-to-day existence of the community, fleeting moments of great importance, and long-term changes over time, revealing not only the perceptions of the photographer but also the self-perceptions of his subjects.

In a superb introductory overview of the collection, Mark E. Martin recounts Lytle's life and career within the context of Baton Rouge history and culture, noting advances in camera and printing technologies. Martin then discusses the photographs thematically, beginning with Baton Rouge's occupation by Federal forces during the Civil War. Thousands of northern soldiers and sailors came through the city during that time, and Lytle, a native of Ohio, photographed them in his studio, on the riverfront, in camps, on boats and ships, and from a bird's-eye view atop buildings. This work brought Lytle fame fifty years later when select images were published in The Photographic History of the Civil War along with the claim that Lytle had been a secret agent, a "camera spy," for the Confederacy. Martin exposes the impossibility of this popular belief, which nonetheless persisted well into the twentieth century.

Over the years Lytle Studio, which Andrew's son Howard eventually joined, produced commercial images of the Louisiana State Penitentiary, the forestry industry, railways and waterways, LSU sports teams, outdoor landscapes, and individuals. Andrew Lytle was more than a studio photographer, though. A husband, father, and grandfather, he took an active role in the community as an entrepreneur; volunteer firefighter, 'member of religious, social, and fraternal organizations; and participant in local theatrical productions and other entertainments. His photography provides in many cases the only visual record of the life and times of Baton Rouge and its people in that period.

Much of what is depicted in Andrew D. Lytle's Baton Rouge remains central to the city's vitality today: politics, family, home, commerce and industry, social events, parades, LSU sports, and the riverfront (now with levees). Readers will find here a priceless glimpse at a bygone world, yet one still recognizable.

Deindustrialization is not simply an economic process, but a social and cultural one as well. The rusting detritus of our industrial past the wrecked hulks of factories, abandoned machinery too large to remove, and now-useless infrastructures has for decades been a part of the North American landscape. In recent years, however, these modern ruins have become cultural attractions, drawing increasing numbers of adventurers, artists, and those curious about a forgotten heritage.

Through a unique blend of oral history, photographs, and interpretive essays, Corporate Wasteland investigates this fascinating terrain and the phenomenon of its loss and rediscovery. Steven High and David W. Lewis begin by exploring an emerging aesthetic they term the deindustrial sublime, explaining how the ritualized demolition of landmark industrial structures served as dramatic punctuations between changing eras. They then follow the narrative path blazed by urban spelunkers, explorers who infiltrate former industrial sites and then share accounts and images of their exploits in a vibrant online community. And to understand the ways in which geographic and emotional proximity affects how deindustrialization is remembered and represented, High and Lewis focus on Youngstown, Ohio, where residents and former steelworkers still live amid the reminders of more prosperous times.

Corporate Wasteland concludes with photo essays of sites in Michigan, Ontario, West Virginia, and Pennsylvania that pair haunting images with the poignant testimonies of those who remember industrial sites as workplaces rather than monuments. Forcing readers to look beyond nostalgia, High and Lewis reinterpret our deindustrialized landscape as a historical and imaginative challenge to the ways in which we comprehend and respond to the profound disruptions wrought by globalization."

Agaunt woman stares into the bleakness of the Great Depression. An exuberant sailor plants a kiss on a nurse in the heart of Times Square. A naked Vietnamese girl runs in terror from a napalm attack. An unarmed man, alone, stops a tank in Tiananmen Square. Immediately familiar, each of these photographs has become an icon, galvanizing emotions and shaping public life. But why are these images so powerful? How did they become so prominent in the fast-changing worlds of popular culture and political debate? In No Caption Needed, Robert Hariman and John Louis Lucaites explore how these and other photojournalistic images have achieved iconic status. The authors' in-depth examinations consider both the images themselves and their circulation over time. They demonstrate how the decisive moments captured in these individual images are later reproduced in billboards, cartoons, posters, tattoos, Web pages, and other media to influence political beliefs, attitudes, and identity. Iconic images are shown to be models of visual eloquence, signposts for collective memory, and means of persuasion across the political spectrum. photos is dangerous because it short-circuits rational thought, Hariman and Lucaites instead make a bold case for the necessity of such imagery in modern democratic life. No Caption Needed is a powerful demonstration of the vital role of photojournalism - and the emotional responses it triggers - in a healthy democracy.

When we finally arrived at my brother's house in the United States, I thought about how far I was from home in Mexico. I looked back, saw the sun setting, and thought about my father and what he might be doing. I thought, 'Why did I come so far, and how am I going to return?' Before I left my father asked me why I wanted to leave. He said he thought we would never see each other again. My brother told him not to worry and that he would return me in a year. . . . He was right, because we never did. Irma Luna recalls her experience of migration, from Communities without BordersIn his stunning work of photojournalism and oral history, David Bacon documents the new reality of migrant experience: the creation of transnational communities. Today's indigenous migrants don't simply move from one point to another but create new communities all along the northern road from Guatemala through Mexico into the United States, connected by common culture and history. Drawing on his experience as a photographer and a journalist and also as a former labor organizer, Bacon portrays the lives of the people who migrate between Guatemala and Mexico and the United States. He takes us inside these communities and illuminates the ties that bind them together, the influence of their working conditions on their families and health, and their struggle for better lives. Bacon portrays in photographs and their own words Mixtec and Triqui migrants in Oaxaca, Baja California, and California; Guatemalan migrants in Huehuetenango and Nebraska; miners and indigenous communities in Sonora and Arizona; and veterans of the bracero program of the 1940s and 1950s. Bacon's interviews with this first wave of guest workers are especially relevant in light of the current political focus on guest-worker programs as a model for reforming immigration, an approach with which Bacon strongly disagrees.Throughout Communities without Borders, Bacon emphasizes the social movements migrants organize to improve their own working conditions and the well-being of their enclaves. U.S. border policy treats undocumented immigrants as an aggregation of individuals, ignoring the social pressures that force whole communities to move and the networks of families and hometowns that sustain them on their journeys. Communities without Borders makes an urgent appeal for understanding the human reality that should inform our national debate over immigration."

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.

Paolo Pellegrin (Magnum Photos) and journalist Scott Anderson were in Lebanon during the conflict, on assignment for The New York Times. Pellegrin's photographs intimately capture the fear and powerlessness of the Lebanese population in the face of the ceaseless Israeli air strikes, revealing the terror and despair of families and friends witnessing the deaths of their loved ones, whilst around them their homes were destroyed. In particular, Pellegrin also documented the aftermath of the attack on the village of Qana in southern Lebanon; many of the victims children, his photographs reveal the immense suffering of the civilians involved. Alongside his work exposing the consequences of indiscriminate attacks on a civilian population is a 3000-word account by Scott Anderson, who accompanied Pellegrin in Lebanon. Pellegrin and Anderson were both wounded in a missile attack by an Israeli drone, which fired on their vehicle as they traveled through the city of Tyre.

The collapse of Russian communism in 1991 resounded to the shudder of an empire. Soviet imperialism and empiricism was dead and lands, nations, and peoples would henceforth be free from the tyranny of the communist diktat. But it also sounded the death knell of a small, impoverished, and forgotten land-locked state in the Caucasus which had the misfortune to be of geopolitical importance. Stanley Greene's photographs in Open Wound are so powerful as to make Chechnya our responsibility. He is unashamed to use guilt, with his painter's eye, to relate the deeds of men in Chechnya to our own conduct.

In this companion volume to John Bisney and J. L. Pickering's extraordinary book of rare photographs from the Mercury and Gemini missions, the authors now present the rest of the Golden Age of US manned space flight with a photographic history of Project Apollo. Beginning in 1967, Moonshots and Snapshots of Project Apollo chronicles the program's twelve missions and its two follow-ons, Skylab and the Apollo-Soyuz Test Project. The authors draw from rarely seen NASA, industry, and news media images, taking readers to the Moon, on months-long odysseys above Earth, and finally on the first international manned space flight in 1975. The book pairs many previously unpublished images from Pickering's unmatched collection of Cold War-era space photographs with extended captions-identifying many NASA, military, and contract workers and participants for the first time-to provide comprehensive background information about the exciting climax and conclusion of the Space Race.

Latin American Studies Association Visual Culture Section Best Book PrizeLatin American Studies Association Historia Reciente y Memoria Section Best Book PrizeThe role of documentary photography in exposing and protesting the crimes of a dictatorship. After Augusto Pinochet rose to power in Chile in 1973, his government abducted, abused, and executed thousands of his political opponents. The Insubordination of Photography is the first book to analyze how various collectives, organizations, and independent media used photography to expose and protest the crimes of Pinochet's authoritarian regime. Angeles Donoso Macaya discusses the ways human rights groups such as the Vicariate of Solidarity used portraits of missing persons in order to make forced disappearances visible. She also calls attention to forensic photographs that served as incriminating evidence of government killings in the landmark Lonquen case. Donoso Macaya argues that the field of documentary photography in Chile was challenged and shaped by the precariousness of the nation's politics and economics and shows how photojournalists found creative ways to challenge limitations imposed on the freedom of the press. In a culture saturated by disinformation and cover-ups and restricted by repression and censorship, photography became an essential tool to bring the truth to light. Featuring never-before-seen photographs and other archival material, this book reflects on the integral role of images in public memory and issues of reparation and justice. A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Hector Fernandez L'Hoeste and Juan Carlos Rodriguez Publication of the paperback edition made possible by a Sustaining the Humanities through the American Rescue Plan grant from the National Endowment for the Humanities.

The Moon has always been an object of immense fascination for humanity - and not just because of its prominence in the night sky. With its complex orbit, it is far closer to our planet than any other celestial body. Already in ancient Babylon, humans have studied the Moon and its relationship to the planets and constellations. Through incisive texts and illustrations using photos and computer simulations, this book explores the similarities and differences to other planets and their moons, the Moon's interactions with the Sun and the Earth, and interesting historical associations. In addition to scientifically accurate texts, it contains numerous large-format photographs and graphics that vividly explain the complex phenomenon of the Moon. Richly illustrated, it is designed for anyone interested in astronomy.

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.