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.

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).

Auschwitz and Birkenau were separate from each other,by about a 45 minute walk. Auschwitz was adapted to hold political prisoners in 1940 and evolved into a killing machine in 1941. Later that year a new site called Birkenau was found to extend the Auschwitz complex. Here a vast complex of buildings were constructed to hold initially Russian POWs and later Jews as a labour pool for the surrounding industries including IG Farben. Following the January 1943 Wannsee Conference, Birkenau evolved into a murder factory using makeshift houses which were adapted to kill Jews and Russian POWs. Later due to sheer volume Birkenau evolved into a mass killing machine using gas chambers and crematoria, while Auschwitz, which still held prisoners, became the administrative centre. The images show first Auschwitz main camp and then Birkenau and are carefully chosen to illustrate specific areas, like the Women's Camp, Gypsy Camp, SS quarters, Commandant's House, railway disembarkation, the 'sauna', disinfection area and the Crematoria. Maps covering Auschwitz and Birkenau explain the layout. This book is shocking proof of the scale of the Holocaust.

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.

A rusting anti-aircraft fort in the North Sea. A German submarine base in France. A Flak tower in a Viennese park - more than 70 years after the end of World War II, its legacy can still be seen from Europe to Japan. World War II Abandoned Places explores more than 100 bunkers, pillboxes, submarine bases, forts and gun emplacements from the North Sea to Okinawa. Included are defensive structures, such as the Maginot Line on France's eastern border with Germany, Germany's own western and eastern border defences, and the Atlantic Wall, the German-built bunkers and pillboxes on the coast from Denmark down to Brittany. The book also includes both Hitler's and Himmler's Eastern Front bunkers in Poland. But beyond the military installations, the book explores the ruins of concentration camps, the empty village of Oradour-Sur-Glane, Hitler's mountain retreat at Berchtesgaden and the dilapidated Nazi party rally grounds in Nuremberg, among other non-military places. With 150 outstanding colour photographs, World War II Abandoned Places is a brilliant pictorial examination of both the military and non-military legacy of the conflict.

This is the first and only book of portraits of android and humanoid robots. The robots in these photographs by Max Aguilera-Hellweg, a photojournalist for 40 years whose work has appeared in Life, NYT Magazine, Rolling Stone, Discover, Scientific American, Time, and National Geographic, are some of the most well known in the world of humanoid robotics. The photographs explore the many ways scientists and engineers are creating robots with human attributes, qualities, and abilities, and the means by which the robots engage us in what is known as human-robot interaction. The relationship of humans to robots can be as subtle as nonverbal communication; as intuitive as whether you should pass someone on the left or pass on the right to avoid sidewalk salsa; as intimate as developing an affectionate personal relationship with a machine, or as never before conceived of, but now as important as life and death—autonomous robots programmed for ethical decision making in the battlefield. Author and photographer Max Aguilera-Hellweg has embarked on a journey through Japan and the United States to explore the turning point in the evolution of robot science, where robots are becoming more like humans, crossing the great divide between data processing and sentience. Humanoid's breathtaking photographs present android robots designed to look and act like a human, beyond the imaginary Data from the TV series Star Trek, Pris, the replicant (played by Daryl Hannah) in the movie Blade Runner, or the "synths" of the hit TV series Humans. Some of the humanoid robots portrayed in this profound book, such as Bina48, Joey Chaos, and Geminoid-F have humanlike skin, hair, hands, even fingernails—they have been created to resemble with extreme accuracy an actual human being. Other humanoids are devoid of such external attributes but replicate the anatomy of a human—arms, legs, torso, a head and eyes—like, for example, the Terminator, not as Arnold Schwarzenegger but when he is all machine. Some of Aguilera-Hellweg's photographs reveal the different ways robot scientists approach the same engineering and design problem. BioBiped1, for instance, a humanoid based on biomimetics, comprised of a torso and pair of legs, has joints and moving parts modeled on human biology and systems, harnessing what nature has solved. Another such humanoid, aptly named Vocal Robot, consists of a pair of artificial lungs and a vocal chord from which it speaks. During the creation of many of these photos, an hour-long documentary, Au Couer des Robots (In the Heart of Robots), was shot. The English-language version is in postproduction and will soon seek distribution here and internationally. Max Aguilera-Hellweg's astonishing, gorgeous photography open our eyes to this brave new world in which humanoid robots—exciting, thrilling, frightening to some, strange to others, controversial, lifesaving—will change our lives in countless ways.

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'.

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.

'That evening in the bars in Buckingham and adjacent towns there was only one topic of conversation - the Grand Prix .... motor-racing had 'arrived' in England.' - Motor Sport, 13 May 1950. The British Grand Prix is the oldest race on the Formula 1 calendar, having entertained race fans for over seventy years - and from Kent to Liverpool, the Mirrorpix photographers have been there every step of the way. The F1 World Championship at the British Grand Prix is a race through the highest and lowest moments of a sport that has given us Stirling Moss, Michael Schumacher and Lewis Hamilton.

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 elite hotels of Africa serve as an interface between the tribal, religious, social and cultural aspects of Africa and the global uniformity of international business culture. They are also the places where the unseen resources of many African countries - oil, diamonds, minerals - are bartered away behind closed doors. These are environments which have a strangely hybrid quality - their design, their cuisine, musak and global TV echoing 'international' standards. Yet they are ultimately sites of tension, where cultures collide and conflict. At the same time, however, these hotels are viewed by their local communities as symbols of achievement which contradict the more usual representations of Africa.Far from being despised as enclaves of the rich, these hotels have become 'objects of desire', the dream venue for weddings and where to be invited to a business conference is to have reached the pinnacle of success. And for most hotel employees there is the reassurance of wages that are higher than they could earn elsewhere and therefore their duties are carried out with pride and self-assurance.

In February 2001, Foot and Mouth Disease arrived in Cumbria. At its peak Cumbria was the worst affected county in Britain with a staggering 41 per cent of all cases. For the local community, the environmental and social consequences were to prove devastating. As a local resident, leading UK photographer John Darwell found himself surrounded by the effects of the disease. Over the next twelve months, he committed himself to recording what was taking place. Despite government reports to the contrary, the Cumbrian countryside became largely a 'no-go area', whilst on the farms thousands of animals were destroyed, their bodies burnt on the now notorious pyres. The ultimate clean-up of the infected farms led to extraordinary lengths being taken to eradicate the virus. "Dark Days" represents, perhaps, the most complete record of this time and provides a powerful and emotive insight into one of the most dramatic and destructive periods in British farming history. It is published in association with Littoral Arts.

For more than forty years Angola has faced conflict. From 1961-1975, there was the struggle for independence from Portuguese rule. This was followed by a period of civil war which, in one form or another, extended until 2001, when the UNITA leader Jonas Savimbi was killed in an ambush. This led to a cease-fire, armistice and peace. As a result of these 40 years of war the country has suffered a terrible legacy of unexploded mines and other weapons. Photographer Sean Sutton, who works alongside MAG (Mines Advisory Group) has recorded the impact that this has had on the country and its people, as well the work of those clearing the mines. MAG has been working in Angola for more than 10 years, clearing tens of thousands of landmines and items of unexploded ordnance. The book is introduced by Heather Mills who is a patron of MAG and has campaigned vigorously on the issue of landmines. There is also a text by the renowned photojournalist Tim Page whose photographs during the Vietnam War were published worldwide. Page is the subject of many documentaries, two films and the author of nine books. Lou McGrath, Director of MAG, contributes a further text contextualising the work of landmine clearance.

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.

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.

The remarkable photographs in "Forever Engand" were taken at Bekonscot Model Village in Beaconsfield. Initially built by a London accountant to entertain his house guests, it opened to the public in 1929 and is the oldest model village in the world, welcoming close to 200,000 visitors each year. Now a world famous folly, it stands as a tribute to English eccentricity, humour, determination and craftsmanship. Its particular charm is that it presents a vision of England firmly rooted in an idyllic 1930s timewarp. Yet it is its quirkiness that Bailey has captured so stunningly. In wonderful tableaux of everyday life he creates an extraordinarily rich and powerful sense of character and atmosphere. Bekonscot's miniature population of 3,000 people and 300 animals becomes real, their lives frozen in time, as we are carried back to an England we all know and long for - an England of our imaginations - when life was simple, secure, unchanging.

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.

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.

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.

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.

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.

A visually stunning, award-winning photography book of transgender New Yorkers, complete with thought-provoking and revealing interviews that honor the transgender community and the courage it takes to find oneself and defy societal norms. A growing portion of the LGBTQ+ community identifies as transgender; they are family members, friends, neighbors, and colleagues, and yet they are all-too-often stigmatized and misunderstood. This visual tour de force presents exquisite portraits of more than fifty New Yorkers who identify as trans, genderqueer, or gender nonbinary, and interviews with them in which they reveal who they are and what their transitions were like and combat common misconceptions and stereotypes. The vibrant, honest photographs were taken on the streets of New York or in iconic places like Grand Central Station, and together the photos and interviews provoke questions on gender identity, the gender spectrum, and gender expectations. In total, this is an unparalleled articulation of the expressions of sexuality, gender, and self that New York, in all of its beauty, honesty, and compassion, welcomes, as well as a celebration of the power of finding oneself and a compelling call for respect and acceptance. In addition to enlightening text from more than fifty members of New York's trans community and the author, award-winning documentary photographer Peter Bussian, there are inspiring longer essays and an extraordinary foreword by the celebrated trans activist Abby Chava Stein. Trans New York is the winner of a prestigious International Photography Award (IPA) for its superb images.

Following on from her epic photographical journey behind the Iron Curtain in Soviet Ghosts The Soviet Union Abandoned: A Communist Empire in Decay Rebecca Bathory undertakes an emotional and thought provoking journey to Fukushima. As one of the first photographers to be granted access to the site, Bathory now presents never-before-seen images which provide a unique and moving meditation on human failure seen through the lens of an accomplished artist. Bathory's images take you behind the scenes of the ghost town that is Fukushima, at turns heartbreaking and devastating. These photographs ask the question - what next for a nuclear future?

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.