Photography has visualized international relations and conflicts from the midnineteenth century onwards and continues to be an important medium in framing the worlds of distant, suffering others. Although photojournalism has been challenged in recent decades, claims that it is dead are premature. The Violence of the Image examines the roles of image producers and the functions of photographic imagery in the documentation of wars, violent conflicts and human rights issues; tackling controversial ideas such as 'witnessing', the making of appeals based on displays of human suffering and the much-cited concept of 'compassion fatigue'. In the twenty-first century, the advent of digital photography, camera phones and socialmedia platforms has altered the relationship between photographers, the medium and the audience- as well as contributing to an ongoing blurring of the boundaries between news and entertainment and professional and amateur journalism. The Violence of the Image explores how new vernacular and artistic modes of photographic production articulate international friction.This innovative, timely book makes a major contribution to discussions about the power of the image in conflict.

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.

The author presents an account of the Battle of France: the forty-five traumatic days from May 10 to June 24, 1940 that resulted in one of the most remarkable military victories of modern times. During those six weeks, six nations found themselves at war, fighting across four countries. From the polders of the Netherlands in the north to the mountains of the Alps in the south, and from the Rhine valley to the Atlantic coast, Jean Paul Pallud explores every corner of the battlefield, the camera recording the scenes today where 50 years ago Dutch, Belgian, German, French, British and Italian soldiers were locked in mortal combat. Battles great and small are described and illustrated to colour the canvas of both the broad strategy and the individual firefight in Hitler's victorious campaign of Blitzkrieg in the West.

Working Men's Clubs were originally set up for the support and education of the working man. Many clubs have long since disappeared, though there are still six million UK members. As a child, Chris Coekin visited clubs with his parents, both in his home town of Leicester and, on family holidays, around England. "Knock Three Times" is set in the Acomb WMC York, which Chris first photographed in 1996. Through photographs and archive material, Coekin explores the cultural roots and identity of the Working Men's Club and examines the complexity of working class culture, as well as ideas of masculinity, relationships and the work ethic.

In "Our Man in Havana", Graham Greene wrote that 'to each man a city consists of no more than a few streets, a few houses, a few people. Remove those few and the city no longer exists except as a pain in the memory, like the pain of an amputated leg no longer there.' In this, his third book, John Comino-James shows us the world that is contained within just a few streets in the very ordinary neighbourhood of Cayo Hueso in Havana, Cuba. Through portraits and candid observation, he builds an honest and intimate record of a small and tight-knit community. This is not the Havana of the tourist, but a city in which people go about their daily lives, dealing with the everyday realities that have resulted from decades of political isolation. In a powerful and beautifully written afterword, Comino-James intersperses his experiences of several vists to the area, with fascinating information on the history of Cuba and the city of Havana.

A haunting and beautiful limited edition book from the internationally respected photographer, Simon Norfolk. The war in Bosnia in the 1990s raised to common currency the terms 'ethnic cleansing,' and 'humanitarian intervention'. It brought back to Europe a barbarism not seen since the Second World War; and was the first war fought very much under the eyes of the media. It was also the first conflict fought by killers who knew, even before the war had finished, that a war crimes tribunal awaited them. Norfolk's photographs initially appear almost abstract. Yet through these still and beautiful images of ice, water, snow and the land, we can sense the arrogance of killers who believed they could conceal the brutal evidence of their crimes by reburying their victims in 'secondary graves'. But over time secrets escape, and the truth bleeds out.

The taxi journey of a lifetime - eight days across India. Andreas Herzau's photographic travel book records an eight-day journey that he undertook by taxi from Calcutta to Mumbai (formerly Bombay). It provides impressive insights into the culture and life styles of central India and is a closeup view of the country's complex and stratified society. A fascinating document of reportage and narration. Andreas Herzau has won the European Press Award on more than one occasion. He has exhibited his photographs throughout Europe and his work regularly features in the leading European magazines. This is his third book.

Americans is the second book in a series on America by Christopher Morris. While the first book My America (Steidl, 2006) focused on Republican nationalism, Americans takes a much broader journey across American society. With an empathetic and critical eye, Morris presents a nation in a state of perpetual loss and its people searching for an identity- stranded within two long-running wars and an economy on the verge of collapse. Christopher Morris, born in California in 1958, began his career as a documentary conflict photographer, working almost exclusively with Time Magazine, where he has been on contract since 1990. Parallel to his career as a photojournalist, Morris has recently expanded into the fashion world, working for such clients as Roberto Cavalli and magazines on the collections of Louis Vuitton, Prada and Max Mara. Morris has received many awards including the Robert Capa Gold Medal, the Olivier Rebbot Award, and the Infinity Award for photojournalism from the International Center of Photography. Morris is a founding member of VII Photo Agency in New York.

It seems at first commonplace: a photograph of peasants at harvest time, after work well done, resting contentedly with their tools, behind the fruits of their labor. But when one finally notices that what seemed innocent on first view becomes horrific: the crops scattered in front of the group are skulls and bones. Where are we? Who are the people in the photograph, and what are they doing?
The starting point of Jan Gross's A Golden Harvest, this haunting photograph in fact depicts a group of peasants--"diggers" atop a mountain of ashes at Treblinka, where some 800,000 Jews were gassed and cremated. The diggers are hoping to find gold and precious stones that Nazi executioners may have overlooked. The story captured in this grainy black-and-white photograph symbolizes the vast, continent-wide plunder of Jewish wealth.
The seizure of Jewish assets during World War II occasionally generates widespread attention when Swiss banks are challenged to produce lists of dormant accounts, or national museums are forced to return stolen paintings. The theft of this wealth was not limited to conquering armies, leading banks, and museums, but to local populations such as those pictured in the photograph. Based upon a simple group shot, this moving book evokes the depth and range, as well as the intimacy, of the final solution.

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

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.

Using highly detailed color photographs, John Ganis has chronicled the effects of development and extraction industries in every region of the Continental United States over a period of seventeen years. The subjects of Ganis s images are for the most part flagrantly clear abandoned wrecks, desolate strip mines, clear-cut forests, industrial parks, landfill sites, and the flattening of terrain for housing -developments and just as flagrantly disturbing. This is a thesaurus of our "civilized" incursions into the wildness of nature, a charting of our debris-strewn topographies, and a cogent report on our abdication of any reverence -towards the land. In an introductory essay, Robert -Sobieszek, from Los Angeles County Museum, gives an insightful overview of the historical responses to the American landscape and places the work of John Ganis within the context of "the new American pastoral." In 1989, Ganis entered into a collaborative exchange with the noted anthropologist Dr. Stanley Diamond, who wrote the poetry for this book in response to John Ganis s photographs. They represent some of his last and previously unpublished poetic work.John Ganis established his reputation with work on -important environmental issues. His color photographs of land use in America have been exhibited widely and are in the collections of The Brooklyn Museum of Art, The Center for Creative Photography, The Detroit Institute of Arts, The San Francisco Museum of Modern Art etc.He is currently professor and photography department chair at the College for Creative Studies in Detroit."

The stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. The first in-depth history of British tabloid photojournalism, this book explores the origin of the unauthorised celebrity photograph in the early 20th century, tracing its rise in the 1900s through to the first legal trial concerning the right to privacy from photographers shortly after the Second World War. Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever.Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies.

Delving into the complexities of contemporary reportage, this book draws from moral philosophy and histories of photojournalism to understand the emergence of this distinct practice and discuss its evolution in a digital era. In arguing that the digitization of photography obliges us to radically challenge some of the traditional conceptions of press photography, this book addresses the historic opposition between artistic and journalistic photographs, showing and challenging how this has subtly inspired support for a forensic approach to photojournalism ethics. The book situates this debate within questions of relativism over what is 'moral', and normative debates over what is 'journalistic', alongside technical debates as to what is 'possible', to underpin a discussion of photojournalism as an ethical, moral, and societally important journalistic practice. Including detailed comparative analyses of codes of ethics, examination of controversial cases, and a study of photojournalism ethics as applied in different newsrooms, the book examines how ethical principles are applied by the global news media and explores the potential for constructive dialogue between different voices interested in pursuing the best version of photojournalism. A targeted, comprehensive and engaging book, this is a valuable resource for academics, researchers and students of photojournalism, as well as philosophy, communications and media studies more broadly.

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.

In May 1999, The Northern Ireland (Location of Victims' Remains) Bill was passed in the House of Commons; it provided an amnesty to help the identification and location of people who had disappeared during the 'Troubles'. Six locations were identified and became known as the 'Sites of The Disappeared'. These were the burial places of eight people murdered by the IRA in the 1970s and early 1980s. In thirty years of conflict and atrocities, this small group of people stood apart. They were all Catholic and, as it turned out, had not only been taken from their families but also from their homeland to be buried in the South. In June 2000 the search was finally suspended. Three remains had been located, three closures permitted; for the remaining five families there was a site rather than a spot, a closing rather than a closure.

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).

Volume 2 of this two-volume history of Operation "Market-Garden" continues the story as XXX Corps links up with the 82nd Airborne at Nijmegen which leads to the dramatic and spectacular capture of the vital bridges there over the Waal river. But at Arnhem the tide of battle has already turned. The main force of lst Airborne is thrown back to the Oosterbeek perimeter, leaving John Frost's isolated force at the road bridge to fight it out till the end. As the Polish Brigade is dropped south of the Rhine, and the ground army desperately tries to relieve the beleaguered British paras, down in the south the Germans launch repeated attacks on the narrow corridor in an attempt to cut the Allied supply artery. As savage battles rage for possession of "Hell's Highway", the airborne battle is lost and on September 26 the survivors of lst Airborne are evacuated back across the Rhine.

In this collection of more than 200 stunning and storied photographs, ranging from daguerreotypes to studio portraits to snapshots, historian Bruce White explores historical images taken of Ojibwe people through 1950 and considers the negotiation that went on between the photographers and the photographed-and what power the latter wielded. Ultimately, this book tells more about the people in the pictures-what they were doing on a particular day, how they came to be photographed, how they made use of costumes and props-than about the photographers who documented, and in some cases doctored, views of Ojibwe life.

The first comprehensive consideration of Life magazine’s groundbreaking and influential contribution to the history of photography

From the Great Depression to the Vietnam War, the vast majority of the photographs printed and consumed in the United States appeared on the pages of illustrated magazines. Offering an in-depth look at the photography featured in Life magazine throughout its weekly run from 1936 to 1972, this volume examines how the magazine’s use of images fundamentally shaped the modern idea of photography in the United States. The work of photographers both celebrated and overlooked—including Margaret Bourke-White, Larry Burrows, Henri Cartier-Bresson, Frank Dandridge, Alfred Eisenstaedt, Fritz Goro, Gordon Parks, and W. Eugene Smith—is explored in the context of the creative and editorial structures at Life. Contributions from 25 scholars in a range of fields, from art history to American studies, provide insights into how the photographs published in Life—used to promote a predominately white, middle-class perspective—came to play a role in cultural dialogues in the United States around war, race, technology, art, and national identity.

Drawing on unprecedented access to Life magazine’s picture and paper archives, as well as photographers’ archives, this generously illustrated volume presents previously unpublished materials, such as caption files, contact sheets, and shooting scripts, that shed new light on the collaborative process behind many now-iconic images and photo-essays.

Deluxe, limited edition of 100 copies. It is a must-have luxury, collector's item. It is presented in a bespoke clamshell box. It includes a limited edition, numbered silver gelatin photograph, signed by Baron Wolman, exclusive to this edition. It includes a full set of original, unused tickets for the Friday, Saturday and Sunday of the festival. The book is numbered and signed by all contributors: Baron Wolman, Dagon James, Carlos Santana and Michael Lang. Baron Wolman's stunning black and white photographs of Woodstock are published here for the first time. The majority of images are completely unseen. With accompanying text featuring an interview with Wolman and Woodstock creator, Michael Lang, and a foreword by musician Carlos Santana. Wolman captured the experience and atmosphere of Woodstock like no other photographer. More interested in the crowd than the performers, his photographs are hugely evocative and offer an insight into this legendary event that is rarely seen.

Brandon Stanton’s Humans is a book that connects readers as global citizens at a time when erecting more borders is the order of the day. It shows us the entire world, one story at a time…

Brandon Stanton’s Humans – his most moving and compelling book to date – shows us the world. After five years of traveling the globe, the creator of Humans of New York brings people from all parts of the world into a conversation with readers. He ignores borders, chronicles lives and shows us the faces of the world as he saw them. His travels took him from London, Paris and Rome to Iraq, Dubai, Ukraine, Pakistan, Jordan, Uganda, Vietnam, Israel and every other place in between. His interviews go deeper than before. His chronicling of peoples’ lives shows the experience of a writer who has traveled widely and thought deeply about the state of our world.

Including hundreds of photos and stories of the people he met and talked with in over forty countries, Humans is classic Brandon Stanton – a fully color illustrated book that includes many photos and stories never seen before. For the first time for a HONY title, Humans will contain several of the essays Brandon’s posted online which have been read, loved and enthusiastically shared by his followers.

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.

Kicking Sawdust is a series of photos taken from 1988-1992 while on the road with the circus, carnival, sideshows. It is a personal documentation of friends and people Clayton Anderson encountered in his daily life while working and traveling in his family's food business. Shot on black and white film and developed by author while on the road, after hours.