"This is a book ripped from the headlines, from Black Lives Matter to recently thriving downtowns stripped of office workers and service workers. Those catching the brunt of it all, those with the steepest hills to climb, may have been fucked at birth. But for everyone, as Maharidge observes, the feeling of safety is folly. A sharp wake-up call to heed the new Depression and to recognize the humanity of those hit hardest." -Kirkus Reviews, STARRED REVIEW "Dale Maharidge takes us coast to coast in 2020, down highways along which he first reported decades ago. His honed class awareness-unrivaled among contemporary journalists-reveals that today's confluent health, economic and social crises are the logical conclusion to generations of unvalidated, untreated despair in a wealthy nation. Forget hollow commentary from detached television news studios in New York City. Fucked at Birth is the truth." -Sarah Smarsh, Heartland: A Memoir of Working Hard and Being Broke in the Richest Country on Earth Pulitzer prize-winning journalist Dale Maharidge has spent his career documenting the downward spiral of the American working class. Poverty is both reality and destiny for increasing numbers of people in the 2020s and, as Maharidge discovers spray-painted inside an abandoned gas station in the California desert, it is a fate often handed down from birth. Motivated by this haunting phrase-"Fucked at Birth"-Maharidge explores the realities of being poor in America in the coming decade, as pandemic, economic crisis and social revolution up-end the country. Part raw memoir, part dogged, investigative journalism, Fucked At Birth channels the history of poverty in America to help inform the voices Maharidge encounters daily. In an unprecedented time of social activism amid economic crisis, when voices everywhere are rising up for change, Maharidge's journey channels the spirits of George Orwell and James Agee, raising questions about class, privilege, and the very concept of "upward mobility," while serving as a final call to action. From Sacramento to Denver, Youngstown to New York City, Fucked At Birth dares readers to see themselves in those suffering most, and to finally-after decades of refusal-recalibrate what we are going to do about it.

Photojournalism Disrupted addresses the unprecedented disruptions in photojournalism over the last decade, with a particular focus on the Australian news media context. Using a mixed methods approach, the book assesses the situation facing press photographers and their employers in the supply of professional imagery for news storytelling. Detailed qualitative case studies looking at special events and crisis reporting complement a longitudinal study of sourcing practices around everyday events. Additionally, interviews with industry professionals offer insights into how news organizations are managing significant structural change. Ultimately, the book argues that photojournalism is being reshaped in line with wider industrial disruptions that have led to the emergence of a highly casualized workforce. As a comprehensive study of contemporary photojournalism practices, Photojournalism Disrupted is ideal for scholars and students internationally, as well as (photo)journalists and media professionals.

On April 26, 1986, at 1:24 a.m, the world's worst ever man-made disaster took place. Reactor 4 at Chernobyl Nuclear Power Station, three kilometres from Pripyat in the then Soviet Republic of Ukraine, was beset by a series of explosions that rose deep from its radioactive depths and blasted itself high into the atmosphere, eventually seeping its way into the far corners of the globe. Today the impact of Chernobyl, 21 years later, has become a half-global legend and half-forgotten horror story. The reality is still with many of the 50,000 people who on that fateful night in Pripyat were given less than an hour to gather together their possessions and escape to relative safety 70km away. They were considered the lucky ones, fortunate not to have been vaporised on the spot or to die an excruciating death soon after in the hospitals in Kiev and Moscow that some of the workers and firemen sent to fight the blaze did. Most of the inhabitants had no choice but to gradually return to the contaminated areas that they still call home, and for the past 20 years have continued to live under the shadow of the reactor. Pripyat, in the centre of the 30km wide Red Zone, is still largely a ghost town, where the paint peels in houses and schools, and the dirt settles on childrens' toys that will never be reclaimed. Meanwhile emergency orders still apply to 355 farms in Wales, 11 in Scotland and nine in England. "Chernobyl - The Hidden Legacy" shows the region over a period of three years by Pierpaolo Mittica, who returned several times to document the people and the contaminated landscape they still inhabit. Our world today demands nuclear energy as the answer to its energy crisis, and the legacy of Chernobyl remains shrouded. Time is running out, as the sarcophagus built to contain the reactor and its radioactive contents begins to crumble away. No one has the answers and no one is asking the questions - but can the world afford another Chernobyl?

Thatcher’s Children was born out of a series first made in 1992 focusing on two parents and six children living in a hostel for homeless families in Blackpool, England. The project was made in response to a speech by Peter Lilley, then Secretary of State for Social Security, in which he announced his determination to ‘close down the something-for-nothing society.’ French newspaper Libération dispatched a journalist to northern England to find out what this society looked like, and Easton was commissioned to take the accompanying photographs. His resulting monochrome images of the overcrowded two-bedroom council flat in Blackpool sparked a reaction by both the public and the press. His images attached human faces and nuanced realities to a group of people casually maligned by politicians and media as an ‘underclass of scroungers.’

When photographer Anthony Dawton realised how dramatically homelessness had increased in London, he took to the streets with his cam-era. For years he had taken photographs in areas of need worldwide, but after spending some time in his home city, he noticed how many people were living on its streets. He embarked on a new project to raise awareness for a city he no longer recognised: NOTLondon. Anthony Dawton photographs his subjects with a beauty and dignity that many of them are often denied. His portraits capture the strength and power of humanity as well as its vulnerability. By accompanying the image with the person's name and their story, Anthony gives voice to the voiceless and attempts to offer the homeless a place, a home on the page. Governmental institutions turn a blind eye to the homeless, leaving the work up to charities. Homeless shelters are rife with substance abuse, making them a dangerous place for those trying to overcome addiction. Homelessness becomes a vicious cycle and many find it difficult to break free. Since the start of the pandemic, over 70,000 households in the UK have been made homeless. Dawton's photographs are mesmerising, and as we stare into the eyes of their subjects, we're faced with reality: this is a problem that's getting worse and needs urgent attention. NOTLondon is a provoking campaign to help the city's most vulnerable and to address the fact that, despite its wealth, the city is not providing for those most in need. NOTLondon includes an introduction by Leilani Fahra, former UN special Rapporteur on the Right to Housing and the Global Director of The Shift. Having dedicated her life's work to changing attitudes to homelessness and attacking the governmental systems and structures which perpetrate homelessness, she shares her thoughts in NOTLondon, highlighting the importance of Dawton's project.

Twenty years after the end of the Bosnian War, this photographic journal aims to explore the changing faces of the cities and landscapes of Bosnia, as well as the country as a whole. These moving and haunting images are brilliantly captured and displayed by award-winning photographers Stephanie Borcard and Nicolas Metraux.

Spanning four decades of radical political and social change in Italy, this interdisciplinary study explores photography's relationship with Italian painting, film, literature, anthropological research and international photography. Evocative and powerful, Italian social documentary photography from the 1930s to the 1960s is a rich source of cultural history, reflecting a time of dramatic change. This book shows, through a wide range of images (some published for the first time) that to fully understand the photography of this period we must take a more expansive view than scholars have applied to date, considering issues of propaganda, aesthetics, religion, national identity and international influences. By setting Italian photography against a backdrop of social documentary and giving it a distinctive place in the global history of photography, this exciting volume of original research is of interest to art historians and scholars of Italian and visual culture studies.

One of the most powerful painters of our age, Francis Bacon lived and worked for the last thirty years of his life in a modest building in London's South Kensington. After he died in 1992, access was granted to award-winning photographer Perry Ogden to work undisturbed for days on end to produce this riveting record of the house and its contents. In the studio itself, thirty years of inspired artistic endeavor had accumulated unchecked: the slashed and discarded canvases scattered across the floor; the brushes, rags, and tins encrusted with paint; the doors and walls used as impromptu palettes; the piles of photographs of friends and models; the crumpled and torn pages of magazines and books that served as a stimulus for Bacon's work; the notes, sketches, and ideas for paintings jotted down and then cast aside; the last unfinished self-portrait on the easel.

For some of those close to Bacon, the studio was a heroic statement, a work of art in its won right, secretly constructed over many years to distill and give form to his aesthetic intentions. Now in this astonishing book we are invited to take a privileged look around this private space, to become intimate witnesses to the amazing conditions in which Bacon lived and worked, to gain unrivaled insights into how, why, and what he painted.

While the female nude has long played a conspicuous role in western iconography, the male nude has not always enjoyed such attention, or acceptance. This ode to the male physique celebrates the evolving, at one time illicit, art form from anonymous 19th century erotica through to contemporary work from David Hockney and Duane Michaels. Through the classic, the playful, and the provocative, it explores the compositions, postures, and role-playing of this often under-explored genre. Esteemed masters such as Herbert List, George Platt Lynes or Robert Mapplethorpe are all there, alongside Baron Wilhelm von Gloeden, famed for his homoerotic images of nude youths in classical postures in Sicily. Further highlights include illustrations from Physique Pictorial, the leading organ of the mid-50s gay scene and a pioneer in gay publishing. About the series Bibliotheca Universalis - Compact cultural companions celebrating the eclectic TASCHEN universe!

Meloni's original aim was to connect the history of troubled countries with their current events to explore new ways of capturing uprisings against totalitarianism and the after-effects of colonial ventures. 'My intent was to try, within the limits of visual language, to understand and rationalise a conflict- its roots and evolution-and thus position it within its historical context. The Islamic State's emergence was a logical development, and I can potentially understand why many young men in Iraq, Syria and Libya decided to join. I asked myself many times: if I had been born Iraqi and my family was killed by US soldiers, what might I have done?'

An unblinking portrait of the anti-colonial struggles of the 1960s, Concerning Violence combines more than 150 arresting colour and black-and-white photographs from Goran Hugo Olsson's award-winning documentary by the same name, with passages from Frantz Fanon's classic The Wretched of the Earth (Penguin Classics, 2001). Concerning Violence is a powerful commentary on the history of colonialism and struggles for self-determination, whose echoes remain with us today, and will introduce a new generation to Frantz Fanon.

An epic visual story of wildlife photography's pioneers and world firsts. From some of the very first pictures of wild lions and tigers on record and the first-ever underwater colour photograph, right up to the spectacular images from the wildest corners of the earth that modern-day technology allows, Into the Wild is an extraordinary collection of over 250 images and 150 years of our efforts to document the natural world. Now, more than ever, these are the photographs and stories that matter. "Gemma Padley takes us on a fascinating journey through 150 years of the wildlife photography that has informed and delighted us. The text tells us not only about the images themselves, but describes how cameras gradually got faster shutter speeds, longer lenses, greater resolution and are now mostly digital. But it is the patience and endurance of the photographer who waits for hours or even days in tropical heat or arctic freeze to capture these special shots: taken at just the right moment in just the right light and from just the right angle. Into the Wild is a must-have coffee table book." Dr. Jane Goodall, DBE Founder of the Jane Goodall Institute & U.N. Messenger of Peace

As a recording device, photography plays a unique role in how we remember places and events that happened there. This includes recording events as they happen, or recording places where something occurred before the photograph was taken, commonly referred to as aftermath photography. This book presents a theoretical and historical analysis of German photography of place after 1945. It analyses how major historical ruptures in twentieth-century Germany and associated places of trauma, memory and history affected the visual field and the circumstances of looking. These ruptures are used to generate a new reading of postwar German photography of place. The analysis includes original research on world-renowned German photographers such as Thomas Struth, Thomas Demand, Michael Schmidt, Boris Becker and Thomas Ruff as well as photographers largely unknown in the Anglophone world.

The tension between social reform photography and photojournalism is examined through this study of the life and work of German emigre Hansel Mieth (1909-1998), who made an unlikely journey from migrant farm worker to Life photographer. She was the second woman in that role, after Margaret Bourke-White. Unlike her colleagues, Mieth was a working-class reformer with a deep disdain for Life's conservatism and commercialism. In fact, her work often subverted Life's typical representations of women, workers, and minorities. Some of her most compelling photo essays used skillful visual storytelling to offer fresh views on controversial topics: birth control, vivisection, labor unions, and Japanese American internment during the Second World War. Her dual role as reformer and photojournalist made her a desirable commodity at Life in the late 1930s and early 40s, but this role became untenable in Cold War America, when her career was cut short. Today Mieth's life and photographs stand as compelling reminders of the vital yet overlooked role of immigrant women in twentieth-century photojournalism. Women, Workers, and Race in LIFE Magazine draws upon a rich array of primary sources, including Mieth's unpublished memoir, oral histories, and labor archives. The book seeks to unravel and understand the multi-layered, often contested stories of the photographer's life and work. It will be of interest to scholars of photography history, women's studies, visual culture, and media history.

The photographs were taken during Haris's extended visits to Cuba, where he spent almost a year living in Havana. The book is full of images with a richness of colour and a warmth and a sensuality that convey a real feeling for the island and for the daily lives of its inhabitants. Combining portraits of great beauty with still lives and interiors, the book will be of interest to anyone who has visited the island or who wants to understand its unique and fascinating attraction.

Published on the occasion of what would have been his 70th birthday, this monograph on the work of the late Czech photographer Milon Novotny reveals him to be more than just a photo-journalist. A poet of everyday life whose medium was photography, Novotny possessed a remarkable ability to see deep human content in what appeared to be banal shots.

A MOVEMENT IN WORDS AND IMAGES Award-winning photographer Devin Allen has devoted the last six years to documenting the protests of the Black Lives Matter movement, from its early days in Baltimore, Maryland, up to the present day. The riveting images in No Justice, No Peace provide a lens on the resistance that has empowered Black lives generation after generation. Allen's signature black-and-white photos bear witness to the profound history of African Americans and allies in the fight for social justice and portray the collective action over decades in stunning, timeless portraits. Allen's remarkable photos of today's Black Lives Matter protests, which have been featured in the New York Times, the Washington Post, and twice on the cover of Time magazine, were inspired by Gordon Parks of the Civil Rights Movement, and create a vision of the past and future of Black activism and leadership in America. With contributions from twenty-six bestselling and influential writers and activists of today such as Clint Smith, DeRay Mckesson, D. Watkins, Jacqueline Woodson, Emmanuel Acho, Keeanga-Yamahtta Taylor, and more, alongside the words of past writers and activists such as Martin Luther King Jr, Frederick Douglass, Malcolm X, Maya Angelou, and John Lewis, No Justice, No Peace is a reminder of the moral responsibility of Americans to break unjust laws and take direct action. In words and pictures, No Justice, No Peace honors the connection between activism today and that of the past. If indeed hindsight is 20/20, this artistic look back is a lens on history that enlarges our understanding of the lasting predicament of racism in the United States of America. At once deeply intimate and profoundly uplifting, No Justice, No Peace is a visual tribute to Black resistance and a stern missive on the tough, but necessary, road that lies ahead.

People magazine's top reason for Hope in America. Curated from a grassroots social movement, The Front Steps Project is an inspiring, uplifting portrait series capturing how people coped with living in isolation during the COVID-19 pandemic. The Front Steps Project™ demonstrates that even in the most challenging of circumstances, kindness, love, courage, and hope exist to build, bind, and connect communities around the globe. Created on March 18, 2020, The Front Steps Project™ began when friends Kristen Collins and Cara Soulia sought out to unite their neighbors through photographs of life in quarantine. In addition to incorporating work from other local photographers, the women traveled to neighborhoods around Needham, Massachusetts to photograph residents in front of their homes in exchange for donations to their local food pantry. Within days, #TheFrontStepsProject became a grassroots social mission, connecting thousands of people across the globe and raising over $3,250,000 for vital non-profit organizations and local businesses including food pantries, frontline workers, homeless and animal shelters, hospitals and so much more. Through their noble efforts, hundreds of thousands of images and stories of love, sacrifice, compassion, kindness, perseverance, and – ultimately hope – flooded social media. Featured on Good Morning America, The Today Show, People Magazine, The Wall Street Journal, The Boston Globe and more, The Front Steps Project brings communities together virtually, despite being – and maybe feeling – isolated. The Front Steps Project contains over 400 photographs and dozens of stories of families during the COVID-19 pandemic. This heartwarming keepsake commemorates a massive effort of courage, unity, and goodwill. As a tribute to the good work of The Front Steps Project, a portion of book sales will be donated to The United Way to help people impacted by the pandemic.

A history of beloved cricket grounds from around the world. Using a Then and Now format, historic pictures of cricket grounds are paired with their modern-day equivalent to show the dramatic changes that have taken place. Cricket Grounds Then and Now is a history of some of the most famous cricketing venues from around the world, told through the format of Then and Now photos. Author of the bestselling Remarkable Cricket Grounds and Remarkable Village Cricket Grounds, Brian Levison, has assembled a stunning array of vintage photos of the major Test venues such as Lord's, The Oval, Old Trafford, Trent Bridge, Adelaide and the Sydney Cricket Ground, with which are paired a modern photo from the same viewpoint. There are smaller venues too – Saltaire in Yorkshire with its World Heritage mill as a backdrop; New Road, Worcester, viewed across the River Severn from the Cathedral and Ickwell Village Green with its large oak tree firmly inside the boundary rope. The photos show how some features survived for decades – such as the famous scoreboard on the SCG 'Hill' – or the standing terraces at St.Helens. Some grounds, such as the Central Ground in Hastings, have disappeared altogether. At the larger test venues in Australia, drop-in pitches are now the norm, allowing multiple use of the huge stadia, while in the UK, the county 'outgrounds' have gradually been whittled away. Yorkshire have lost Brammall Lane in Sheffield, Kent have abandoned their occupancy of Dover and Maidstone, while Essex have left Leyton in East London. Cricket Grounds Then and Now is a nostalgic trip around the world's cricketing venues showing both massive changes across a century and occasionally (Cheltenham College) no change at all. Grounds include: Barbados, Berlin, Scarborough, Canterbury, Wellington, Ahmedabad, Ageas Bowl, Old Trafford, Trent Bridge, The Gabba, Melbourne Cricket Ground, Hollywood, Tilford, Dublin, Chelmsford, Sydney Cricket Ground, Aigburth, Buxton, Edgbaston, Philadelphia, Worcester, Headingley, Hove, Taunton, Lord's, The Oval, Pietermaritzburg, Cape Town, Sidmouth and Singapore.

The tension between social reform photography and photojournalism is examined through this study of the life and work of German emigre Hansel Mieth (1909-1998), who made an unlikely journey from migrant farm worker to Life photographer. She was the second woman in that role, after Margaret Bourke-White. Unlike her colleagues, Mieth was a working-class reformer with a deep disdain for Life's conservatism and commercialism. In fact, her work often subverted Life's typical representations of women, workers, and minorities. Some of her most compelling photo essays used skillful visual storytelling to offer fresh views on controversial topics: birth control, vivisection, labor unions, and Japanese American internment during the Second World War. Her dual role as reformer and photojournalist made her a desirable commodity at Life in the late 1930s and early 40s, but this role became untenable in Cold War America, when her career was cut short. Today Mieth's life and photographs stand as compelling reminders of the vital yet overlooked role of immigrant women in twentieth-century photojournalism. Women, Workers, and Race in LIFE Magazine draws upon a rich array of primary sources, including Mieth's unpublished memoir, oral histories, and labor archives. The book seeks to unravel and understand the multi-layered, often contested stories of the photographer's life and work. It will be of interest to scholars of photography history, women's studies, visual culture, and media history.

As a recording device, photography plays a unique role in how we remember places and events that happened there. This includes recording events as they happen, or recording places where something occurred before the photograph was taken, commonly referred to as aftermath photography. This book presents a theoretical and historical analysis of German photography of place after 1945. It analyses how major historical ruptures in twentieth-century Germany and associated places of trauma, memory and history affected the visual field and the circumstances of looking. These ruptures are used to generate a new reading of postwar German photography of place. The analysis includes original research on world-renowned German photographers such as Thomas Struth, Thomas Demand, Michael Schmidt, Boris Becker and Thomas Ruff as well as photographers largely unknown in the Anglophone world.

It is all but impossible to think of September 11th 2001 and not, at the same time, recall an image. The overwhelmingly visual coverage in the world's media pictured a spectacle of terror, from images of the collapsing towers, to injured victims and fatigued firefighters. In the days, weeks and months that followed, this vast collection of photographs continued to circulate relentlessly. This book investigates the psychological impact of those photographs on a stunned American audience. Drawing on trauma theory, this book asks whether the prolonged exposure of audience to photographs was cathartic or damaging. It explores how first the collective memory of the event was established in the American psyche and then argues that through repetitive use of the most powerful pictures, the culture industry created a dangerously simple 9/11 metanarrative. At the same time, people began to reclaim and use photography to process their own feelings, most significantly in 'communities' of photographic memorial websites. Such exercises were widely perceived as democratic and an aid to recovery. This book interrogates that assumption, providing a new understanding of how audiences see and process news photography in times of crisis.