Reinhard Heydrich along with Heinrich Himmler, whose deputy he was, will always be regarded as one of the most ruthless of the Nazi elite. Even Hitler described him as a man with an iron heart'. He established his fearsome reputation in the 1930s, as head of the Sicherheitsdienst (SD), the intelligence organisation which neutralised opposition to the Nazi Party by murder and deportation. He organised Kristalnacht and played a leading role in the Holocaust, chairing the 1942 Wannsee Conference which formalised plans for the Final Solution'. In addition, as head of the Einsatzgruppen murder squads in Eastern Europe he was responsible for countless murders. Appointed Deputy Reich-Protector of Bohemia and Moravia, he died of wounds inflicted by British trained SOE operatives in Prague in May 1942. The reprisals that followed his assassination were extreme by even the terrible standards of Nazi ruthlessness. Heydrich's shocking and leading role in the Nazi regime is graphically portrayed in this Images of War book.

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.

"We must remember that in the brutality of battle another such apocalypse is always just around the corner." -Sebastiao Salgado In January and February 1991, as the United States-led coalition drove Iraqi forces out of Kuwait, Saddam Hussein's troops retaliated with an inferno. At some 700 oil wells and an unspecified number of oil-filled low-lying areas they ignited vast, raging fires, creating one of the worst environmental disasters in living memory. As the desperate efforts to contain and extinguish the conflagration progressed, Sebastiao Salgado traveled to Kuwait to witness the crisis firsthand. The conditions were excruciating. The heat was so vicious that Salgado's smallest lens warped. A journalist and another photographer were killed when a slick ignited as they crossed it. Sticking close to the firefighters, and with characteristic sensitivity to both human and environmental impact, Salgado captured the terrifying scale of this "huge theater the size of the planet": the ravaged landscape; the sweltering temperatures; the air choking on charred sand and soot; the blistered remains of camels; the sand still littered with cluster bombs; and the flames and smoke soaring to the skies, blocking out the sunlight, dwarfing the oil-coated firefighters. Salgado's epic pictures first appeared in the New York Times Magazine in June 1991 and were subsequently awarded the Oskar Barnack Award, recognizing outstanding images on the relationship between man and the environment. Kuwait: A Desert on Fire is the first monograph of this astonishing series. Like Genesis, Exodus, and The Children, it is as much a major document of modern history as an extraordinary body of photographic work.

Founded in 1955, the Rough-Stuff Fellowship is the world's oldest off-road cycling club. Its archive contains thousands of stunning images, hand-drawn maps and documents - an unexpected treasure trove of incredible value and beauty that is now being brought to a wider public by Isola Press. The photos are evocative of a bygone age and a bygone style - a time when you might set off on a bike ride wearing a shirt and tie or a bobble hat, and no ride was complete without a stop to brew up some tea and smoke a pipe. They are also a record of intrepid adventures. RSF riders explored the Lake District, the Cairngorms, the Alps and further afield, and their exploits were beautifully documented by amateur and professional photographers. In their own very British way, these men and women were pioneers, pedalling and carrying their bikes where angels feared to tread. Mountain bikes, gravel bikes, adventure bikes all owe them a debt. This book celebrates their style and their spirit. It is a stunning visual resource of cycling heritage that will inspire new adventures.

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.

Where jetliners used to take off every few minutes, nearly everything has ground to a halt. The bright blue sky above the tarmac is serene, the contrails have disappeared, the endless corridors are eerily deserted. In April 2020, at the height of the first lockdown of the coronavirus pandemic, the photographer Marc Krause explored Frankfurt Airport with his analogue camera to capture the strange calm of this "non-place." Without the hectic hustle and bustle of pre-pandemic times, he noticed things that are usually drowned out by the rushing crowds: the geometric lines of the constructivist architecture, the changing patterns of light and shade, the junk left behind by travellers in vast halls that would be teeming with thousands of people on a normal day. Offering a fascinating glimpse of a seemingly surreal world, this publication is an unsettling testimony to a historic moment in time and a powerful photo book that leaves viewers torn between melancholy and hopeful longing. Text in English and German.

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.

In 2011, Mike Spitz began photographing dozens of record stores in and around the greater Los Angeles area, rich with old and new record shops, to capture the lively experience of going to the independent record store. Beautifully wrought on color film, his photographs illustrate how each store has a unique and vibrant culture, and the stimulating experience of being in a record store and discovering that rare vinyl record, cassette or 8-track tape, memorabilia, vintage concert poster, turntable, nostalgia, or other music-related gems. The inclusion of in-depth interviews with store owners demonstrates how record stores cultivate a communal gathering place for human interaction, exploration and discovery. In chronological order from the oldest existing stores, such as Canterbury Records that opened in 1956 in Pasadena or Music Man Murray Records that opened in 1962, to the most recently opened stores, The Record Store Book respectfully marks the changing of the guard from the older to the newer generation of stores as each owner shares facts, store history, and distinctive points of view regarding how people search for, find and appreciate music.

In extraordinary, life-affirming photos taken around the world-from developing villages to urban centers-over the last 40 years, a photographer makes the bold case that what unites us is more powerful than the borders that divide us. A portion of the proceeds for The Bonds We Share will benefit Doctors Without Borders. Hailed as "photography's new conscience," photographer and psychiatrist Dr. Glenn Losack has spent a lifetime traveling the world, determined to extend healing, hope, and compassion. With a camera in hand, he goes places that tourists rarely visit, including slums, alleys, and dark streets. He's seen struggle, but he's also seen our shared humanity: families playing together, laborers working, the devout praying to their gods. Dr. Losack has found resilience, joy, passion, and celebration in communities the world over, even in places plagued with corrupt government, poor infrastructure, and disease. The 240 captivating photos in The Bonds We Share, taken in India, the Dominican Republic, Bangladesh, Cambodia, Morocco, Peru, Tunisia, Sri Lanka, Egypt, the United States, Eastern Europe, and elsewhere, serve as a remarkable retrospective of Dr. Losack's work and reveal an essential truth: we may come from very different cultures, far-ranging geographic corners, belief systems, and economic circumstances, but we all share the same desire to work hard, raise families, and lead fulfilling lives. In this spectacular volume, Dr. Losack interrogates timely notions of difference and portrays the commonality of people from different cultures around the globe.

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.

At 21:00 on 9 May 1940 Codeword Danzig was issued alerting Adolf Hitler's airborne troops that they were about to spearhead an attack on Belgium and the Netherlands. The following day his blitzkrieg rolled forward striking the British Expeditionary Force and the French armies in Belgium and in northern France at Sedan. The desperate attempts of the allied armies to stem the Nazi tide proved futile and, once their reserves had been exhausted and the remaining forces cut off, Paris lay open. By early June, it was all over - trapped British, Belgian and French troops were forced to evacuate Dunkirk, Calais and Boulogne and the defeated French army agreed to an armistice leaving the country divided in two. This dramatic story is shown in a sequence of over 150 historic photographs that Anthony Tucker-Jones he has selected for this memorable book. The images he has chosen cover every aspect of this extraordinary campaign, but his main focus is on the vital role played by the armoured fighting vehicles of both sides. The book is a graphic record of the destruction wrought by the Wehrmacht's lightning offensive through the Low Countries and France.

Beaches, marshes, mangroves; cliffs, deserts, forests; bays, deltas, estuaries - coastlines take many different forms and are put to very different uses. From deserted beaches to busy ports, from pretty fishing villages to a surfers' paradise, a salt marsh to a ship-breakers' yard, Coasts celebrates where the land meets the sea. From beautiful coastal paths to the shipwrecks left high and dry in the Aral Sea, from world famous locations such as Copacabana Beach in Brazil and Big Sur in California to the little explored coastlines of Yemen and Oman, from Algeria to Antarctica, the Amalfi Coast to the Dead Sea, the book celebrates a huge range in coastlines from all around the world. Including nature reserves and tourist resorts, rugged landscapes and desert island tranquility, fjords and fossils, eroding cliffs to whole towns lost to the waters, the book explores coastlines in all climates and conditions around the globe. Presented in a landscape format and with captions explaining the story behind each entry, Coasts is a stunning collection of images and stories.

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.