The second half of the 20th century is often described by press photography as a "crisis" or the "end of press photography". The reasons for this were amongst other things changes in the media landscape, in the sales channels of media products or in photo technology. This publication examines how the St.Gallen Presseburo Kuhne Kunzler responds to these changes over a period of more than 50 years. The unique position of the press office as regards information given its excellent archives enabled the inclusion not only of picture and written sources but also objects in the fields of research company, market and product. This meant that various aspects of the history of photography, the history of technology, local history, economics but also journalism studies and media sciences could be addressed.

Text in English & German. When at the end of the 1960s Michael Nether set out for Berlin, that city held enormous attraction for young intellectuals and artists, just as it had done in the Roaring Twenties. There were demonstrations and happenings, there was Kommune 1 with Rainer Langhans and Uschi Obermeier, and everywhere people held endless discussions that continued throughout the night. Scandalous theatrical performances and legendary concerts with musicians such as Bob Dylan, Mick Jagger, Leonard Cohen and George Moustaki gave expression to a new sensibility. And then there was Klaus Kinski, in his unforgettable performance of Jesus Christ and other one-man shows. Nether photographed what he saw face to face -- 'on stage' -- including stars of international cinema like Claudia Cardinale, Roman Polanski, Peter Ustinov or Pier Paolo Pasolini. One of his first photos was the scene of a 1969 student demonstration at the Berlin Gedachtniskirche. Crowds of people throng the streets observed by countless curious passersby, and the police are there with their vans. The composition of the picture can hardly have happened by chance. Cars and the facades of buildings are points of reference past which people wind like a huge serpent. At the centre top of the picture there is a bright light. The photo sums up the atmosphere of departure and the state of mind of an entire generation. Here Nether demonstrates that he is an articulate documentary photographer. Towards the end of the 1970s, Nether returned to his home region of Swabia. Here he went into business with a partner, worked for advertising agencies -- for instance, taking photographs for Porsche in the company's research and development centre in Weissach -- but he also gradually made a name for himself as a photographic artist, with his own gallery in Bietigheim-Bissingen; particularly noteworthy were his pictures of prominent celebrities such as Wolf Biermann, Martin Walser, Woody Allen or Helmut Newton, as well as numerous photos of performances by the Stuttgart Ballet, but also of "street people". He succeeds in subtly communicating with the latter in these photos and making this dialogue visible. Today his main interest focuses on photographing portraits and nudes. In 2009 the International Center of Photography in New York purchased 100 photographs by Nether.

Encouraged to investigate the landscape of Guernsey through a commission from the Guernsey Photography Festival, Mark Power began to explore different ways of looking, and recording, the same place through a series of long-walks spending several weeks on the island. The first thing he noticed was the profusion of signs proclaiming 'Terre a l'Amende', threatening a fine for trespassing. This, along with mile upon mile of walls and fences delineating private land, only served to alienate Power and reinforced his position as an outsider here. He was acutely aware that Guernsey markets itself to the outside world as an idyllic holiday destination, but as Power began to look carefully it wasn't difficult to see what might lie beneath. Revelling in this irony, he deviated from traditional picturesque representations and instead went in search of this contrary vision; one of an uneasy, unsettling place where all might not be as it seems.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Picture Post magazine was made famous by its pioneering photojournalism, which vividly captured a panorama of wartime events and the ordinary lives affected. This book is the first to examine this fascinating primary source as a cultural record of women's dress history. Reading the magazine's visual narratives from 1938 to 1945, it weaves together the ways in which design, style and fashion were affected by, and responded to, the state of being at war - and the new gender roles it created for women. From the working class of Whitechapel to the beach sets of the Bahamas, and from well-heeled Mayfair to middle-class New York, Women in Wartime takes a wide-angled lens to the fashions and lifestyles of the women featured in Picture Post. Exploring the nature of femininity and the struggle to be fashionable during the war, the book reveals critical connections between clothing and social culture. Drawing on a unique range of photographs, Women in Wartime presents a living history of how women's clothing choices reflect changing perceptions of gender, body, and class during an era of unprecedented social change.

With his new book of photographs, Migration as Avant-Garde, Michael Danner delivers a moving, critical, and thought-provoking contribution to the current public debate on immigration. He skillfully combines his own photos and texts with historic images, and the result is a coherent and multifaceted narrative of the immigrant experience. Danner has photographed the people who migrate from their homes, but also "those that influence, prevent, channel, or impact a migrant's humanity," including border police and agents of the state. In addition to these portraits, his book includes archival images of refugees and satellite imagery from crisis regions. Quotes from Hannah Arendt's 1943 essay We Refugees, which was also the inspiration for the title, are interspersed through the book. The events that Arendt wrote about more than seventy years ago - giving up one's home, one's friends, family, and language - are more pressing today than ever before. In search of progress, driven by the desire for a better future, and risking their lives, people both then and now hit the road, break through physical and psychological boundaries, and thus provide our society with new perspectives and ways of thinking.