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.

Through two award-winning National Public Radio documentaries, and now this powerful book, LeAlan Jones and Lloyd Newman have made it their mission to be loud voices from one of this country's darkest places, Chicago's Ida B. Wells housing project. Set against the stunning photographs of a talented young photographer from the projects, Our America evokes the unforgiving world of these two amazing young men, and their struggle to survive unrelenting tragedy. With a gift for clear-eyed journalism, they tell their own stories and others, including that of the death of Eric Morse, a five-year-old who was dropped to his death from the fourteenth floor of an Ida B. Wells apartment building by two other little boys.

Sometimes funny, often painful, but always charged with their dream of Our America, LeAlan Jones and Lloyd Newman reach out to grab your attention and break your heart.

Rousseau and Dignity: Art Serving Humanity is a richly illustrated volume relating a series of events-a photography exhibit, lectures, commentary, and audience reactions by people ages seven to ninety-two-held in the name of Jean-Jacques Rousseau's tercentennial in 2012. Drawn together by the unexpected convergence of a lecture series and art exhibit held in South Bend, Indiana, and a documentary film that was shot simultaneously in Compiegne, France, the participants had several goals: to show why Rousseau's moral philosophy is important for our time; to argue for the importance of subjective art forms such as photography, video letters, and autobiography; to reproduce the stunning photojournalism commissioned by Amnesty International to document and dignify people who suffer human rights abuses, such as substandard housing, nationless-ness, and ethnic prejudice; and to inspire new kinds of intergenerational teaching. The book includes essays from world-renowned scholars on Jean-Jacques Rousseau; five chapters by photojournalists, which include fifty-four photographs from Egypt, India, Macedonia, Mexico, and Nigeria; and notes by youthful visitors to the exhibit. In the volume's unorthodox combination of art and text, creation and reflection, the authors hope to elicit readers' interest in, and commitment to, an engaged form of public humanities.

This is a lavish pictorial record produced in collaboration with the Royal Geographical Society (with IBG). It features 200 unique photographs taken by Isabella Bird that transport the reader to the China of the late 19th century. It includes supporting text by travel photography expert Debbie Ireland. Ammonite Press is proud to collaborate with the Royal Geographical Society (with IBG) in celebrating the achievements of Isabella Bird in this lavish pictorial record of her last great journey through China, in the closing years of the 19th century, with supporting text by travel photography expert Debbie Ireland. Bird was in her mid-sixties when she undertook her travels, to a land that was largely unknown and largely misunderstood in the West, where a woman travelling alone was greeted with incredulity and, occasionally, hostility. The highlight of her visit was journeying by boat and sedan chair to make a major tour of the valley of the Yangtze River and much beyond, right up to the border with Tibet.

The unfolding events in the run up to the Iraq war had given Tom Hurndall, a 21-year-old British photojournalist, an increased curiosity and desire to journey to the Middle East. In February 2003, initially as an observer alongside the Human Shields, he left with a passion to make a difference, to record and photograph the truth for himself. We follow his journey first from Baghdad, then to Amman and the Al-Rweished refugee camp in Jordan, and finally on to the town of Rafah in Gaza close to the Egyptian border, where US peaceworker Rachel Corrie had been killed just weeks previously, On April 11th, unarmed and wearing and internationally recognized orange peacekeeper jacket, he was severely wounded while carrying Palestinian children to safety. He died nine months later in a London hospital. The book follows Tom's life and thoughts in the final weeks leading up to the shooing. Motivated by a sense of injustice and striving to remain objective we are drawn into his increasingly serious photographs and words, through extracts from his diary, emails and poems. It is realised through collaboration with the Hurndall family on the sixth anniversary of the fateful day, and with the recent Channel 4 film-documentary 'The Shooting of Thomas Hurndall'.

FEATURED IN THE NEW YORKER: The Faces of Americans Living in Debt Finalist for the Dorothea Lange/Paul Taylor Prize in Documentary. Featured on Politico, in the Washington Post, the Daily Mail, and the Huffington Post, USA Today, Business Insider, Refinery29, and Fast Company. Based on the popular online photo series and now published in print for the first time, The Debt Project collects 99 portraits of debt across the United States, featuring people of all different backgrounds and stories, to recontextualize an often stigmatized experience. In 2013, Brittany Powell made the difficult decision to file for bankruptcy for her photography business. In the years following the 2008 economic collapse, she found herself in a significant amount of debt, a position many Americans across the country still share, a common yet isolating and private experience often steeped in shame. Her personal experience, bolstered by the We Are the 99% slogan that came out of the Occupy movement, brought her to start The Debt Project, an exploration of the role debt and finance plays in our personal identity and social structure. This book presents an intimate look into 99 different lives: each shares an arrestingly honest portrait in the person’s home, surrounded by all their belongings, accompanied by a handwritten note of the amount of debt that person is in and the story behind the numbers. The Debt Project, with a foreword by writer and filmmaker Astra Taylor plus resources at the back of the book to support people in debt, examines the social and personal hold financial debt has on us and invites others into a private world, while at the same empowering people to share their stories and overcome the shame they may feel.

Now, for the first time, the private Afrikakorps photograph collection of Rommel's second in command, Generalleutnant Fritz Bayerlein, is presented in this landmark publication. Over 200 photographs, showing personalities, battle scenes, behind the front line rest periods, and non-battle scenery such as a tour of ancient ruins with Rommel are featured. Brought to life here are the famous Afrikakorps personalities such as Rommel, Nehring, Cruwell, and von Thoma. The Afrikakorps commanders, their fighting men, the awards for bravery, the graves, and even mundane military life in the heat of the Libyan desert, Bayerlein's array of photographs depict the war in the Western Desert as he saw it. From his arrival in the Western Desert in October 1941, through his final, and bitter departure in May 1943, Bayerlein took hundreds of photographs. This gallery of images unfolds Bayerlein's rise in rank, from an Oberstleutnant under General Cruwell to Generalleutnant under his friend and mentor, Erwin Rommel. Fritz Dittmar-Bayerlein, the General's nephew and co-author, has generously opened his uncle's photograph collection which had been in storage for over thirty years. Retrace Bayerlein's steps and the campaigns across the desert sands - an undiscovered perspective on the legacy of the vaunted Afrikakorps.

A compelling social and cultural history of Britain since the Second World War, showing how photographers have depicted the country over the last seventy years. Another Country offers a lively, vital rethinking of British documentary photography over the last seven decades. This collection includes a diverse range of photographers working in an exciting array of photographic and artistic modes, encompassing images from iconic reportage to photo-text pieces, from self-portraits to political photo-collages. As Britain takes an increasingly significant place in the history of documentary photography, award-winning photography writer and critic Gerry Badger brings vital context and breadth to the conversation. Organized chronologically, each chapter spans a particular period of social and cultural history, focusing on the major photographers, figures, institutions, publications and galleries that shaped the photographic climate of their time, as well as the broader tastes of the era. Chapter-by-chapter picture sections present famous works alongside forgotten masterpieces, interspersed with focused commentaries on selected photographs by both Badger and a range of contributors. This multilayered approach provides a rich understanding of the evolution and sheer variety of British documentary photography. With more than 165 photographers represented - including work by Bert Hardy, Lee Miller, Bill Brandt, Nigel Henderson, Don McCullin, Jane Bown, Yinka Shonibare, Maud Sulter, Nadav Kander, Tom Hunter, Chloe Dewe Matthews, Cold War Steve and many more - this book is a comprehensive overview of how photographers and photo-artists have depicted Britain and British society over the last seventy years.

In this ode to Connecticut's Naugatuck River Valley, vibrant photos and moving poetry relate the region's legendary industrial history and ponder its legacy. The story begins in 1802, when two metalworking families joined forces to manufacture brass. Business soared during the War of 1812 with the demand for buttons, and soon brass parts became essential in the age of steam and electricity. As large-scale brass manufacturing grew across what became known as Brass Valley, mill towns along the river, such as Torrington and Waterbury, developed into thriving cultural centers. This continued until 2014, when the last plant closed, and the tradition of soot-covered workers charging generations-old furnaces came to an end. This poignant elegy captures the glowing metal flying through the air at the Ansonia foundry in its final days, as well as abandoned opera houses and train tracks, the vestiges of a dying infrastructure and American way of life.

Super 8: An Illustrated History is a coffee table art book showcasing the history of Super 8 filmmaking. In addition to featuring stunning photography documenting the sleek mid-century design of Super 8 cameras and projectors, the book also offers a detailed history of the beloved medium-one not only embraced by suburban dads, the target audience of the format, but by the art world, punk rockers, and ultimately popular culture. Filmmakers who got their start in Super 8 include, Robert Zemeckis, Jim Jarmusch, Todd Haynes, Sam Raimi, Wes Anderson, and Alex Gibney. Thanks in part to a renewed interest in analog technologies, Kodak will be bringing a new Super 8 camera to market in 2019, their first new camera to roll off the assembly line in over thirty years. Super 8 also features interviews from filmmakers who got their start in Super 8 and individuals who were instrumental in the development of the medium. Interviews include filmmakers Richard Linklater (Slacker, Boyhood, Dazed and Confused), Dave Markey (1991: The Year Punk Broke), Rocky Schenk (music videos for Adele, Devo, Nick Cave, The Cramps, Robert Plant), James Mackay on Derek Jarman (Last of England, Jubilee), Lenny Lipton (The Super 8 Book), James Nares (Rome '78), G.B. Jones (The Lollipop Generation), Bruce LaBruce (Hustler White, The Misandrists), Peggy Ahwesh (Martina's Playhouse), Paul Sheptow (Super-8 Filmmaker magazine), Ed Sayers (The Straight 8 Film Festival), Melinda Stone (Super Super 8 Film Festival), Jonathan Tyman (Ann Arbor 8mm Film Festival), Norwood Cheek (Flicker zine and screening series), Martha Colburn, Narcisa Hirsch, slit, Matthias Muller, John Porter, and Karissa Hahn. On the technical front, the book features interviews with Roland Zavada (Kodak), Bob Doyle (Super8 Sound), Phil Vigeant (Pro8mm), Frank Bruinsma (Super8 Reversal Lab), and Tommy Madsen (Logmar Camera Solutions).

?????? Nina Berman was one of the first photographers in the US to turn her lens towards her own country, whilst all eyes were on Iraq. She was awarded international prizes in photojournalism from World Press Photo (2005, 2007) and DAYS Japan (2005) for her work on young American veterans coming back from war, widely exhibited and published in the book 'Purple Hearts - Back from Iraq.' ?????? Nina Berman in 'Homeland' has captured further the unsettling and surreal in her own country over recent years. She has witnessed the rise of the 'super' churches, and photographed military demos, recruitment centres and air fairs where you are never too young to have your own gun. She has noticed spring up in towns across America, emergency committees, uniformed and primed for action against attack. ?????? Many feel secure in the shared safety under the spangled banner of a flag. But underlying Berman's technicolour images is a sense of fear under the guise of the banal. Surreal images from the outside - the unsettling reality is that this is now the norm for many. Even more disturbing, that these are parts of the USA today. ?????? In 'Homeland' Berman is an American again looking at America. She sees the growing elements of fanaticism and faith in guns and God, creeping through a cross-section of American society. "I've been a documentary photographer since 1987 working in a dozen countries including Afghanistan, Bosnia, India and Vietnam. But most of my time has been spent traveling the USA trying to understand the American Way of Life."

Part of the prestigious academic book series Documenting the Image, this is a fascinating survey illustrated by extremely rare photographs of the burned architectural and landscape complex known as the Rape of the Summer Palace.
In 1860, Western armies brought ruin to the treasured seat of the Qing emperors near Beijing. One hundred and fifty images have been collected to date as a support for an extensive study of the building of the palaces and their subsequent destruction.
This book is a rigourous analysis of the work and experiences of the European photographers, both amateur and professional, working in Beijing during this period, and, as such, becomes an account of the development of photography itself. Offering a fascinating glimpse into 19th-Century China, the book gives an historical overview of the political situation.

This text examines the use of images in journalistic contexts and the manipulation of these images to accomplish varying objectives. It provides a framework for critical discussion among professionals, educators, students, and concerned consumers of newspapers, magazines, online journals, and other nonfiction media. It also offers a method of assessing the ethics of mass-media photos, which will help visual journalists to embrace new technologies while preserving their credibility.
"Phototruth or Photofiction?" also:
*recounts the invention of photography and how it came to be accorded an extraordinary degree of trust;
*details how photos were staged, painted, composited and otherwise faked, long before digital technology;
*lists contemporary image-altering products and practices;
*details many examples of manipulated images in nonfiction media and lists rationales offered in defense of them;
*explains how current ethical principles have been derived;
*lays groundwork for an ethical protocol by explaining conventions of taking, processing, and publishing journalistic photos; and
*offers tests for assessing the appropriateness of altered images in non-fiction media.
Each chapter is followed by Explorations designed to facilitate classroom discussion and to integrate into those interactions the students' own perceptions and experiences. The book is intended for students and others interested in the manipulation of images.

As the visual component of contemporary media has overtaken the verbal, visual reportage has established a unique and extremely significant role in 21st-century culture. Julianne Newton has prepared this comprehensive analysis of the development of the role of visual reportage as a critical player in the evolution of our understanding of ourselves, others, and the world. "The Burden of Visual Truth" offers a first assessment of the role of visual journalism within the context of the complex, cross-disciplinary pool of literature and ideas required for synthesis.
Newton approaches the subject matter from several perspectives, examining the theoretical and ideological bases for visual truth, particularly as conveyed by the news media, and applying relevant research on photojournalism and reality imagery to contemporary newspaper, broadcast, and internet professional practice. She extends visual communication theory by proposing an ecology of the visual for 21st century life and developing a typology of human visual behavior. Scholars in visual studies, media studies, journalism, nonverbal communication, cultural history, and psychology will find this analysis invaluable as a comprehensive base for studying reality imaging and human visual behavior. The volume also is appropriate for journalism and media studies coursework at the undergraduate and graduate levels. With its conclusions about the future of visual reportage, "The Burden of Visual Truth" also will be compelling reading for journalism and mass communication professionals concerned with improving media credibility and maintaining a significant course for journalism in the 21st century. For all who seek to understand the role of visual media in the formation of their views of the world and of their own identities, this volume is a must-read.

Chris Bonington Mountaineer is a photographic autobiography, documenting over sixty years of climbing the world's most beautiful and challenging mountains. Few climbers can match Bonington's climbing achievements. He is one of the most accomplished and respected climbers in the world. In this 2016 revised edition, which features over 500 photographs, we are given a frank perspective into the surreal, majestic and occasionally tragic corners of his incredible mountaineering career. Whether in the Arctic, the jungle or on an 8,000-metre peak, Bonington's stunning photography and engaging conversational prose take us through the detail of daily life on expedition, the action of the climbing and the grandeur of the mountains. From his foundations - climbing in Snowdonia, the English Lake District, and the Highlands of Scotland - Bonington takes us to the Alps and on his expedition apprenticeship in 1960s Nepal. This quickly leads to trips to Patagonia, the Karakoram, the Amazon, Baffin Island and the River Nile, before the meat of his career on the big walls and 8,000-metre peaks of the Himalaya - with his leadership of the expeditions that made the first ascents of the south face of Annapurna in 1970 and the south-west face of Everest in 1975, and culminating in his own ascent of Everest in 1985. The greatest challenge and survival story of all is his first ascent and epic descent of The Ogre in Pakistan with Doug Scott. Bonington's undying hunger for adventure leads to later exploratory trips to Greenland, India and Morocco, and a return to the scene of one of his defining first ascents, the Old Man of Hoy, with world-class adventure climber Leo Houlding. The result is a penetrating insight into the motivations and fears of a driven climber who set out year after year from a life of comfort and success to test himself amongst the world's most savage mountains. Chris Bonington Mountaineer is a must for anyone with a passion for exploration, mountains or climbing.

The 1848 discovery of gold at Sutter's Mill in northern California set off a mining explosion that greatly hastened the development of the American West. This new book gathers historic photographs of mining in the Old West, from "panning" for gold in the waters of California to deep mining throughout the Western Territorities. The photos capture the lives of miners and the tent cities and early towns that grew up around the mines. What is captured is the stuff of which legends were made: the old saloons, wooden sidewalks, and dirt streets. Readers look the old miners in the eye, where the harshness of their lives is etched. They also see the places where they worked: the makeshift mining operations rising on mountainsides just out of town, the deep and dusty shafts, the tools and machinery designed to mine the precious ore. With over 300 vintage images, this is a treasure trove for historians, Old West aficionados, and lovers of old photographs.

World renowned artist, TED Prize winner, Oscar nominee, and one of Time’s 100 most influential people of 2018, JR is a contemporary art superstar.

In 2018, JR brought his mobile photo studio to New York City. Over one thousand New Yorkers posed for the camera and told their stories, and JR compiled their portraits into an astounding photographic mural―a portrait of the city―for the Brooklyn Museum.

JR: The Chronicles of New York City features both the final mural and every individual photo, as well as a selection of compelling stories and a behind-the-scenes look at how this incredible work was made.

• The Chronicles series aims to capture the essence of iconic cities in words and images
• Includes a removable poster that showcases the entire mural
• Features a foreword by Darren Walker and an artist’s statement

• A perfect gift for fans of JR, anyone who loves New York City, photographers both established and aspiring, as well as lovers of contemporary art, black-and-white photography, and site-specific art projects
• Beautiful on the coffee table or in a photo book collection
• Great for fans of Humans of New York: Stories by Brandon Stanton, New York by Serge Ramelli, and Banksy: You Are an Acceptable Level of Threat and If You Were Not You Would Know About It by Patrick Potter and Gary Shove

A second volume of photos from the archive of the oldest off-road cycling club in the world is a further look into an unseen corner of cycling, social history and outdoor culture. Since 1955 the members of the Rough-Stuff Fellowship - the world's oldest off-road cycling club - have explored the 'rough stuff' where the roads end. From tight thickets to sheer rock faces and the wide open spaces of the mountains, these pioneers of riding off the beaten track have recorded their adventures at home and abroad in stunning photos and ride reports.

The Viet Cong have long remained a mystery even to those who fought against them during America's longest and most divisive war. They have been given many acronyms and slang names by the American fighting men; included among them are V.C., Charlie and other less complimentary terms. They have been portrayed in many guises by the American press and popular Hollywood films. None, however, have really addressed the Viet Cong in human terms. This work will strip away the myth and mystery which surrounds the Viet Cong and, through the medium of their own candid photography, present them in human terms. They were everything we were - resourceful, cunning, adaptable, and most of all, human. As did our own American soldiers, they endured life in some of the harshest, most inhospitable terrain on earth. In doing so, they exhibited the will to sacrifice and be sacrificed for the collective goal of unification. Little did they know that we were serving the hidden agenda of the Politburo in Hanoi. In the end, they, like many of our soldiers, were betrayed and abandoned. This book portrays the Viet Cong as seen through their own photography. A cultural obsession, photographs were taken wherever and whenever possible. On many occasions, Allied forces were able to capture such photos. It is from such sources that these photographs are made available, most for the first time ever, to the general public.

Photojournalism provides an analysis of press photography from a social semiotic perspective. It explores the role of photography in the news and how meanings are made in news photographs. It also investigates the meanings that are made at the intersection of words and images in the news story context. This is becoming increasingly important for multimodal news reporting in the twenty-first century.The book brings together the author's experiences as a professional photographer, lecturer and researcher to provide readers with a comprehensive tool kit for analyzing images and text-image relations. It explores a wide range of case studies and will appeal to scholars in Social Semiotics, Linguistics, Communications Studies, Critical Discourse Analysis and Media/Journalism Studies.

Adversary takes an inside look at the dedicated adversary tactics units within the U.S. Air Force, Navy and Marine Corps. Every unit in this highly specialized group, from the Navy's well known TOPGUN program to the US Air Force's elite 414th Combat Training Squadron is reviewed. The Marine Corps Sniper squadron and Navy reserve units are also covered. Over the course of a two year time-frame, authors Rick Llinares and Chuck Lloyd were afforded unprecedented access to each of the five remaining aggressor squadrons. Join the authors as they go inside the best air combat training units anywhere in the world. Fly with USAF F-16 Vipers, Navy F/A-18 Hornets and Marine F-5E Tigers during actual training missions. Hear directly from actual aggressor pilots as they describe what it's like to simulate the bad guy. Learn how they fly their 'Soviet fighters' against American airman in mock air battles. The book covers the history of the adversary programs in the American military as well as exploring the current air combat environment Modern threat aircraft flown by the former Soviet Union as well as the three American aggressor fighters are also included. Playing the role of the 'bad guy' in the dangerous environment of aerial combat is not an easy task. Adversary pilots must first be superb fighter pilots. They must also be excellent teachers of the art of air combat, masters of their trade. Their job is to teach, to take the best fighter pilots in the world and make them even better. Adversary tells their story in dramatic photography and fascinating text.