This incredible visual record of life and death along the Eastern Front features more than 250 images from the the PIXPAST Archive, a collection of more than 32,000 original colour photographs taken between 1936 and 1946\. Collated into three parts and organised thematically, the book begins with images of the ground war, including Hitler's invasion of the Soviet Union and the tanks, vehicles, weaponry and infantry on both sides. Moving into the war in the skies, the images depict aircraft in flight and on the ground, the bombers, fighters, Luftwaffe personnel and the destruction wrought from battle. And finally, the images take us behind the lines, to the prisoners of war, partisans, medics, the daily lives and leisure activities of soldiers and civilians along the front and the impact of the harsh Russian winter. Accompanied by text by renowned author and commentator Anthony Tucker-Jones, these images offer a rare, often surprising insight into the realities of the Second World War and people caught up in it, in vivid colour detail.

The updated retrospective published for McCullin's 80th birthday. Contains 40 new unpublished photographs and a new introduction - the definitive edition. McCullin's reputation has long been established as one of the greatest photographers of conflict in the last century. In the fourteen years since the first publication of the book, McCullin has shed the role of war photographer and become a great landscape artist. He has also travelled widely through Africa, India, the Middle East and among the tribes living in Stone Age conditions in Indonesia. His journey from the back streets of north London to his rural retreat in the depths of Somerset is unparalleled. It includes a passage through the most terrible scenes of recent history, for which his stark views of the West Country offer him some redemption.

Built in 1883, the Hotel Chelsea, on 23rd Street in New York City, quickly became the most famous and notorious hotel in the world. From day one, it has been a center of artistic and bohemian activity, with notable residents like actor Ethan Hawke, painter Phillip Taaffe, magazine editor Sally Singer, filmmaker Milos Forman, poet and painter Rene Ricard, beat poet Herbert Huncke, and novelist Joseph O'Neill. This photographic collage of 76 images and vignettes was gathered by a longtime hotel resident prior to the hotel's restoration under new ownership. It unpacks suitcases of memories with atmospheric photographs of residents and guests from the past 20 years. As the author notes, "Life at the Chelsea Hotel arrived in fragments, signs, things heard, and things felt, rather than chronologically charted."

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.

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.

It's hard to imagine a place more central to American mythology today than Silicon Valley. To outsiders, the region glitters with the promise of extraordinary wealth and innovation. But behind this image lies another Silicon Valley, one segregated by race, class, and nationality in complex and contradictory ways. Its beautiful landscape lies atop underground streams of pollutants left behind by decades of technological innovation, and while its billionaires live in compounds, surrounded by redwood trees and security fences, its service workers live in their cars. With arresting photography and intimate stories, Seeing Silicon Valley makes this hidden world visible. Instead of young entrepreneurs striving for efficiency in minimalist corporate campuses, we see portraits of struggle-families displaced by an impossible real estate market, workers striving for a living wage, and communities harmed by environmental degradation. If the fate of Silicon Valley is the fate of America-as so many of its boosters claim-then this book gives us an unvarnished look into the future.

From the history-steeped ‘home of cricket’ at Lord’s, to the mecca of Indian cricket at Eden Gardens, this encompassing guide ranges across five continents to bring you the best cricket venues the world has to offer. Accompanied by corresponding articles from The Times of notable matches at each venue, discover the history behind these remarkable grounds. With its beautiful, full-colour photography, scorecards, and locator map, this is an essential book for all fans of cricket. Grounds include: Adelaide Oval, Australia Bangabandhu National Stadium, Bangladesh Centurion Park, South Africa Dubai International Cricket Stadium, United Arab Emirates Eden Gardens, India Eden Park, New Zealand Edgbaston, England Galle International Stadium, Sri Lanka Harare Sports Ground, Zimbabwe Iqbal Stadium, Pakistan Kensington Oval, Barbados Lord’s, England Melbourne Cricket Ground, Australia Newlands, South Africa The Oval, England St John’s, Antigua

At a time when surfing is more popular than ever, it's fitting to look back at the years that brought the sport into the mainstream. Developed by Hawaiian Islanders over five centuries ago, surfing began to peak on the mainland in the 1950s-becoming not just a sport, but a way of life, admired and exported across the globe. One of the key image-makers from that period is LeRoy Grannis, a surfer since 1931, who began photographing the longboard era of the early 1960s in both California and Hawaii. This edition brings back Grannis's hair-raising, sold-out Collector's Edition, curated from the photographer's personal archives, to showcase his most vibrant work in a compact and affordable format-from the bliss of catching the perfect wave at San Onofre to dramatic wipeouts at Oahu's famed North Shore. An innovator in the field, Grannis suction-cupped a waterproof box to his board, enabling him to change film in the water and stay closer to the action than any other photographer of the time. He also covered the emerging surf lifestyle, from "surfer stomps" and hordes of fans at surf contests to board-laden woody station wagons along the Pacific Coast Highway. It is in these iconic images that a sport still in its adolescence embodied the free-spirited nature of an era-a time before shortboards and celebrity endorsements, when surfing was at its bronzed best.

Although numerous books about conventional filmmaking exist, none has solely addressed the challenges and production requirements of making stereoscopic motion pictures. Until now. Stereographer and film historian, Ray Zone, presents the insights of twenty-one professionals who have worked in this specialized field. In this unique collection of interviews, Zone explores the art and craft of 3-D filmmaking with producers, screenwriters, directors, and cinematographers. The interviews range from a discussion with Arch Oboler - producer of Bwana Devil, the 1952 feature that triggered the "boom" of 3-D films - to producers and cinematographers who have worked with single-strip 3-D film production in the 1970s and '80s, 3-D films in theme parks, current IMAX films, and the new and still evolving format of digital 3-D cinema. These interviews provide an unprecedented look at the unique challenges of producing stereoscopic motion pictures. Over five decades of this unique medium are covered, and will interest aspiring filmmakers, stereo photography enthusiasts, cinema buffs, devotees of popular culture, and film historians.

?????? 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."

Daniel Meadows is a pioneer of contemporary British documentary practice. His photographs and audio recordings, made over forty-five years, capture the life of England's 'great ordinary'. Challenging the status quo by working collaboratively, he has fashioned from his many encounters a nation's story both magical and familiar. This book includes important work from Meadows' ground-breaking projects, drawing on the archives now held at the Bodleian Library. Fiercely independent, Meadows devised many of his creative processes: he ran a free portrait studio in Manchester's Moss Side in 1972, then travelled 10,000 miles making a national portrait from his converted double-decker the Free Photographic Omnibus, a project he revisited a quarter of a century later. At the turn of the millennium he adopted new 'kitchen table' technologies to make digital stories: 'multimedia sonnets from the people', as he called them. He sometimes returned to those he had photographed, listening for how things were and how they had changed. Through their unique voices he finds a moving and insightful commentary on life in Britain. Then and now. Now and then.

This set of essays offers new insights into the journalistic process and the pressures American front-line reporters experienced covering World War II. Transmitting stories through cable or couriers remained expensive and often required the cooperation of foreign governments and the American armed forces. Initially, reporters from a neutral America documented the early victories by Nazi Germany and the Soviet invasion of Finland. Not all journalists strived for objectivity. During her time reporting from Ireland, Helen Kirkpatrick remained a fierce critic of this country's neutrality. Once the United States joined the fight after the Japanese attack on Pearl Harbor, American journalists supported the struggle against the Axis powers, but this volume will show that reporters, even when members of the army sponsored, Stars and Stripes were not mere ciphers of the official line. African American reporters Roi Ottley and Ollie Stewart worked to bolster the morale of Black GIs and they undermine the institutional racism endemic to the American war effort. Women front-line reporters are given their due in this volume examining the struggles to overcome gender bias by examining triumphs of Therese Mabel Bonney, Lee Carson, Iris Carpenter, and Anne Stringer. The line between public relations and journalism could be a fine one as reflected by the U.S. Marine Corps creating its own network of Marine correspondents who reported on the Pacific island campaigns and had their work published by American media outlets. Despite the pressures of censorship, the best American reporters strove for accuracy in reporting the facts even when dependent on official communiques issued by the military. Many war-time reporters, even when covering major turning points, sought to embrace a reporting style that recorded the experiences of average soldiers. Often associated with Ernie Pyle and Bill Mauldin, the embrace of the human-interest story served as one of the enduring legacies of the conflict. Despite the importance of American war reporting in shaping perceptions of the war on the home front as well as shaping the historical narrative of this conflict, this work underscores how there is more to learn. Readers will gain from this work and new appreciation of the contribution of American journalists in writing the first version of history as the global struggle against Nazi Germany, Imperial Japan, and Fascist Italy.

Photography -- Southern Studies -- Travel

There is no place in America like New Orleans's famed French Quarter.

With photographs and history, "The French Quarter of New Orleans" explores the unique evolution of this district. The author and photographer team to reveal how war, fire, floods, politics, cultural conflict, and architectural innovation shaped the Quarter.

In West Freeman's 160 color photographs the present-day romance of the Vieux Carre is here to savor. But "The French Quarter of New Orleans" moves beyond the Old World facades and into the heart and history of the many peoples-Spanish, French, Creole, Native American, African American, and Italians-who have lived here.

From humble, wooden French cottages to stately, brick Spanish Colonial mansions, from Madame John's Legacy to the St. Louis Cathedral, the Quarter's architecture enthralls, and Jim Fraiser's text creates an anecdotal walking tour of memorable and storied sites.

Studying buildings, Fraiser points out the struggle between native Creoles and newcomers in the replacement of Creole townhouses and cottages with "shotgun houses" and American Greek Revival homes. Freeman's photographs and Fraiser's text detail the historical significance and architectural styles of over one hundred structures.

The history of the Quarter teems with vagabonds and saints, warriors and playwrights, musicians, and politicians. Fraiser animates the fascinating story with such evocative figures as the pirate Jean Lafitte, the conquering general Andrew Jackson, and the voodoo queen Marie Laveau. Riverboat gamblers, ladies of the night, duelists, opera aficionados, plague victims, jazz musicians, charlatans, and Mardi Gras revelers populate the streets and edifices Fraiser describes.

For those who have visited the Quarter, this book will be a treasured memento of the district's unparalleled romance and flavor.

Jim Fraiser is the author of "Mississippi River Country Tales" (2001) and, with West Freeman, "The Majesty of the Mississippi Delta" (2002). He lives in Jackson, Mississippi.

West Freeman is a native of New Orleans. His photographic work has been featured in "Architectural Digest" and is in the permanent collection of the New Orleans Museum of Art.

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.

The term Panzergrenadier was introduced in 1942 and applied equally to the infantry component of Wehrmacht, Luftwaffe and later Waffen-SS Panzergrenadiere divisions. As this classic new Images of War book describes, these elite divisions fought as mechanized infantry and escort for and in close cooperation with panzers and other armoured fighting vehicles. Trained to fight both mounted and on foot, their priority was to maintain the fast momentum of armoured troops on the battlefield. Using a wealth of rare, often unpublished, photographs with detailed captions and text, the author charts the fighting record of the Wehrmacht and Luftwaffe Panzergrenadiertruppe units. This includes their initial successes on the Eastern Front. But as defeat approached, they were forced on the defensive on all fronts including the bitter fighting in Italy and the Western Front. As well as describing their many actions, the book details the vehicles and weapons used and main personalities.

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.

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.

Take a photographic journey of American Bald Eagles during nesting season. Through 160 breathtaking images captured in eagles' natural habitats, this factual account offers a rare glimpse into the behaviors and activities of America's national symbol as it prepares a nest, mates, lays eggs, and raises its young. Travel with adult eagles as they gather nest materials, forage for prey, and ward off intruders into their territory. Inside the nest, observe how eaglets grow from hatchlings into fledglings, and experience first flight. Included are tips for observing eagles and a glossary of terms. This is a perfect book for eagle enthusiasts and eagle nest cam viewers, nature and wildlife lovers, bird watchers, conservationists, scientists, teachers, children, and photographers. The one-of-a-kind photographs and comprehensive descriptions make this a must-have treasure to be enjoyed by all ages. It is sure to become the go-to reference on bald eagles.