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.

An illuminating portrait of young LGBTQ people in China, the latest addition to the acclaimed photobook series celebrating LGBTQ communities around the world Same-sex relationships have been an accepted part of Chinese culture for centuries. It was only in the eighteenth and nineteenth centuries, under the influence of the West, that homophobia became more prevalent; and under Mao, homosexuality was criminalized. By the turn of the last millennium, same-sex relationships were once again legal, and by 2001, homosexuality had been declassified as a mental disorder. Polling suggests that the younger generation embraces sexual diversity and LGBTQ rights. But the stigma against queer people still remains. Recent reports from China have noted government attempts to clamp down on LGBTQ media and events, and numerous citizens are still being sent by family members to conversion therapy. Photographer Sarah Mei Herman first started photographing young queer people and their personal relationships during an artist residency in Xiamen in Fujian Province on China's southeastern coast. As she explored what drew these people together, she herself built up close friendships with her subjects and, even after her residency had ended, returned to Xiamen to photograph them, capturing the way they have changed over the course of a number of years. The sixteenth entry in The New Press's worldwide LGBTQ photobook series, Solace is a stunning collection of full-color photos in a beautiful, affordable volume. It provides a portrait of young people navigating the ambiguities of friendship and sexuality as they enter adulthood and grapple with what it means to be queer in modern-day China. Solace was designed by Emerson, Wajdowicz Studios (EWS).

For well over a century, humanitarians and their organizations have used photographic imagery and the latest media technologies to raise public awareness and funds to alleviate human suffering. This volume examines the historical evolution of what we today call 'humanitarian photography' - the mobilization of photography in the service of humanitarian initiatives across state boundaries - and asks how we can account for the shift from the fitful and debated use of photography for humanitarian purposes in the late nineteenth century to our current situation in which photographers market themselves as 'humanitarian photographers'. This book investigates how humanitarian photography emerged and how it operated in diverse political, institutional, and social contexts, bringing together more than a dozen scholars working on the history of humanitarianism, international organizations and nongovernmental organizations, and visual culture in Africa, Asia, the Middle East, Europe, and the United States.

The Norwegian campaign, fought in 1940, early in the Second World War in Europe, is overshadowed by the campaign in Poland that preceded it and the German blitzkrieg in the Low Countries and France that followed, yet it was a close contest from the military point of view and it had a far-reaching impact on the rest of the war. Philip Jowett's photographic history is a vivid introduction to it. In a concise text and a selection of over 150 photographs he traces the entire course of the fighting in Norway on land, at sea and in the air. He describes how important it was for the Allies -the Norwegians, British and French -to defend northern Norway against the Germans, in particular to retain control of the strategic port of Narvik. The book documents in fascinating detail the troops involved, the aircraft and the large naval forces, and gives an insight into the main episodes in the conflict including the struggle for Narvik and the major clashes at sea which culminated in the loss of the Royal Navy's aircraft carrier Glorious. The photographs are especially valuable in that they show the harsh conditions in which the fighting took place and offer us a direct impression of the experience of the men who were there.

Beautiful, haunting photographs of abandoned places in the USSR. Once thriving buildings now ravaged by nature and time are the subject of this fascinating, coffee-table book. Relics of the Soviet conquest of space, Moscow Pioneer camps, remnants of propaganda along a journey sparsely dotted with statues of Stalin or Lenin, from traditional Moldovan houses to ghosts of the Caucasian wars, by way of petro-chemical factories in the Donbass ... this report invites the reader to relive, through its striking pictures, more than a hundred years of history, from the beginnings of the Soviet period to the legacy of a communist era now fast fading from memory. Terence Abela has spent nine years travelling across the former USSR unearthing fragments from its past. His love of history, of photographing relics of the past and discovering the unknown, have combined to create this work. Driven by a desire to preserve the heritage abandoned by states that lurch between the threat of nationalism, dictatorship, wars and the will to invent a new history for themselves, he appeals to us through his pictures to protect these mementos which are at risk of disappearing in the not too-distant future.

Dianne D'Cotta has always liked making records of her travel and local surroundings and a few years ago started to put together grids of 9 photos on different themes, to save space and tell a story. One day she posted one of them on social media and before long had a following, which has continued to grow. Interspersing small details like palm trees and signs with larger views of familiar places, this book includes the areas visitors know and love, such as the quirky shops along the high street, the long seafront and beautiful beaches, but also the places local people will recognise, such as Jacob's Ladder, Little Dennis and the Docks Choir. People love how she captures the historically interesting, seaside, arty, university, botanically diverse, foodie, community minded, working port town that is Falmouth.

In Toy Soldiers, Simon Brann Thorpe blurs the boundaries between document, landscape and concept-based photography to explore this conflict. He examines the impact and potential consequences of the stalemate. Through real soldiers - posed as toy soldiers - he reveals the current situation in Western Sahara, a nation in waiting trapped in an historic cycle of colonial conflict, displacement and endless non-resolution. The work is a unique collaboration between Thorpe, a military commander and the men under his command. Shot entirely on location in the isolated and hauntingly beautiful territory known as 'Liberated Western Sahara' it is influenced by the historic works of photographers such as Mathew Brady, Roger Fenton and Edward Curtis. Toy Soldiers provides a contemporary archive on the issue of non-resolution and the paradigm of post colonial cycles of violence within modern conflicts.

The Landscape of Murder documents all the sites where murders occurred in London between January 1st, 2011 and December 31st, 2012. In total 209 murders were committed over this two year period. Most murders make the news for only a fleeting moment and the landscape in which they occur reverts back to normality very quickly after the forensic teams leave. Yet the scars remain, sometimes subtle, sometimes very open, whether a single solitary flower or the gathering of grieving family and friends. Sometimes nothing remains to show that a life has ended violently in a particular location. Antonio Zazueta Olmos seeks to give memory to what are mostly forgotten events, in unseen places where great violence has occurred. A violence that is mostly silent, private and unseen by the wider public. The project has taken him to parts of London he knew little or nothing about and in the process he has created an alternative portrait of London, one shaped by violence and inequality.

The war in Darfur, which has been controversially termed as 'genocide', is still ongoing, alongside a tardy peace negotiation process, which began back in 2010. Around 300,000 people are estimated to have died from the combined effects of war, hunger and disease. Darfur is inhabited by tribes of both African and Arab lineage. Both groups had co-existed for centuries, however, as a result of the increasing desertification of the region in the 1970s and 1980s, the nomadic Arab tribes began to head south in search of water and grazing land. They soon arrived at the settle-ments of the Africans. Skirmishes followed, though the fighting was small in scale and ended in 1994. The conflict resumed in 2003, when African rebel groups under the banner of the Darfur Liberation Front responded to the neglect and marginalization of their communities by initiating attacks. The Sudan government replied with major land and air assaults. By the summer of 2003 the infamous Janjaweed had become involved. By Spring 2004, they had killed several thousand non-arabs and an estimated million more had been driven from their homes. Yet it was not until more than 100,000 refugees, pursued by Janjaweed militia, escaped to neighbouring Chad that the conflict captured the attention of an international audience.

Nic Dunlop spent 20 years photographing Burma under military rule. His new book, Brave New Burma, is an intimate portrait in words and pictures of a country finally emerging from decades of dictatorship, isolation and fear. From the frontlines of the civil war to deceptively tranquil cities, from the home of democracy leader Aung San Suu Kyi to the lives of ordinary people struggling to survive, Brave New Burma is both an historic collection of rare images and a powerful expose of Burma's crisis. Change has come to Burma for the first time in decades. But change brings dangers, including the erasing of history and the invention of a new Burma in appearance alone. Brave New Burma is a haunting record of a country now struggling to recreate itself.

Ireland's premier photographers, The Lensmen, captured the essence of life in Ireland during the 1950s in their stunning and thought provoking images. A beautiful and evocative collection of photographs, capturing a simpler decade in our country's history. Customs, fashions, sporting events, family life and working lives, high days and holy days. An enchanting look at the Ireland of yesteryear.

Red Thistle, the 2011 winner of The European Publishers Award for Photography, is a powerful and fascinating exploration of the important but relatively unknown region and people of the Northern Caucasus. It lies between the Black and Caspian Seas and is within European Russia. Wars have been fought here for centuries - the most recent in Chechnya. Monteleone examines the stubborn, rebellious culture of this region, which although part of Russia, differs in the ethnicity, religion and social customs of its inhabitants.

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.

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.

Waiting is the story of a rookie photojournalist immersed in Formula One's golden age of the 70s and 80s. Aged just 19, Richard Kelley saw the need to faithfully document the sport's lethal dangers, iconic personalities and technological developments in a period of seismic change, which caused F1's unique character to disappear forever. After only nine months of photographic education, Kelley began using his remarkable talent to observe and capture F1 drivers' decisive moments. He sought his images as a `fly on the wall', consciously disappearing among this `band of brothers' to allow the emotion and power of the moment to blend, developing a cinematic style that grows more contemporary every year. Waiting is a powerful and unique documentary of the world of F1 from 1972 through to 1984. From Gilles Villeneuve's first moments with Ferrari to Francois Cevert's final morning and Niki Lauda's resurrection, Kelley's omnipresent lens and enlightening memoir capture an intimacy and humanity that Grand Prix history will never again witness.

The past has never looked so alive as presented on the jaw-droppingly handsome pages of Retrographic, a ground-breaking book hailed in the media as a revolutionary new way to access the past. By gathering an exclusive collection of 120 of the world's most important images from photographic grandmasters such as Dorothea Lange and Alfred Eisenstaedt, as-well-as Pulitzer Prize winners Malcolm Brown and Nick Ut - this is a book which truly celebrates our shared visual heritage. Through accepting Retrographic into its prestigious research collection, London's Victoria and Albert Museum (V&A) has recognised the book's importance. Alongside rarer images, Retrographic transforms these world-famous classics from the black and white of the past, and allows these visual time-capsules to explode into the living colour of the 21st century. The skilfully colourised photographs provided by Retrographic's talented team of international contributors are displayed alongside a fact-packed narrative from digital journalist Michael D. Carroll.

'The Bang-Bang Club' was a group of four young photographers, friends and colleagues, Ken Oosterbroek, Kevin Carter, Greg Marinovich and Joao Silva, who covered the last years of apartheid, taking many of the photographs that encapsulate the final years of white South Africa. Two of them won Pulitzer Prizes for individual photos. Ken, the oldest and a mentor to the others, died, accidentally shot while working; Kevin, the most troubled of the four, committed suicide weeks after winning his Pulitzer for a photograph of a starving baby in the Sudanese famine. Written by Greg and Joao, The Bang-Bang Club tells their stories, the story of four remarkable young men, the stresses, tensions and moral dilemmas of working in situations of extreme violence, pain and suffering, the relationships between the four and the story of the end of apartheid. An immensely powerful, riveting and harrowing book.

These photographs from Shanghai explore the new culture rapidly developing in China as it expands its domestic market at breakneck speed. As elsewhere in the world, the appeal of modern consumer goods and the benefits they bring is there for all to see. But such rapid change has its dark side. As the not-so-old cultural structures become increasingly irrelevant, there are threats to social cohesion as communal identity gives way to individuality and alienation. What we are seeing now is a new Cultural Revolution, a capitalist Cultural Revolution that is more complete, more total, and no less ideological than the Cultural Revolution that was instigated by Chairman Mao in the 1960s.
"Lovin' It" is introduced by John Gittings, for many years foreign leader-writer and East Asia editor at the "Guardian." Gittings first visited China in 1971 during the Cultural Revolution and in 2001 he opened the "Guardian"'s first staff bureau on the Chinese mainland, in Shanghai.
The book also includes an interview with Hinton by writer and cultural critic Nigel Warburton.
London-based photographer Adam Hinton has produced several documentary projects based on various communities, including a favela in Rio de Janeiro, a coal mining family in the Ukraine, and a Himba community in Namibia. His personal and commissioned photography have won numerous awards and been exhibited at various galleries, including the National Portrait Gallery and The Photographers' Gallery, London.

To describe the complexity of this ever-changing and multi-layered terrain, Kremer creates aesthetic, orderly and beautiful compositions that parallel the defense mechanisms developed to protect Israelis from the painful reality of the current political situation. Rather than confronting the Israeli occupation in the way that it has been absorbed by the world's media, Kremer adopts a more subtle approach. For him, the media's aggressive representation of reality numbs people's sensibilities making them callous to the suffering of others.Instead of shock, Kremer seeks to challenge the viewer, using the landscape as a focus to understand the overwhelming impact of the situation at the deepest of levels. Four decades ago the historian and philosopher, Yeshayahu Leibovich, forewarned that the Israeli occupation was a cancerous disease in the heart of the nation. As Kremer himself says, 'my goal is to reveal how every piece of land has become infected with loaded sediments of the ongoing conflict'.