Many of Magnum's most renowned photographers - beginning with Robert Capa and Henri Cartier-Bresson on assignment in the 1930s - have been captivated by China. They've returned time and again, their fascination growing in line with China's burgeoning accessibility and international influence. - both an outstanding photobook and a fascinating social history - illustrates the agency's evolving relationship with this increasingly influential nation to give a visually rich, informed photographic account of the country, its people and the changes witnessed over the last nine decades. Chronologically organized to present key periods in the development of the modern state and its associated territories, Magnum China presents in-depth portfolios by individual photographers, accompanied by introductory commentaries on the featured projects and group selections illustrating the diversity of Magnum's interaction with the region. Supplemented with introductory essays by Jonathan Fenby, historical timelines, lists of photographers' travels and a fold-out map of China, Magnum China offers detailed and perceptive socio-political, geographical and historical context to complement the outstanding photography of some of the world's finest photographers.

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.

Over the past few decades, the long tradition of street photography has been wholly transformed by the proliferation of digital cameras, the Internet, and smartphones. A new generation of photographers have embraced this modern technology to capture the world around us in a way that is unstaged, of the moment, and real. Exploring this rich seam of emergent and exciting street photography, the 100 photographs featured in this book-the majority of which are previously unpublished and taken in the last few years-are presented on double-page spreads along with commentary about the work and its creator. Curated by David Gibson, a street photographer and expert in the genre, this stunning book offers a truly global collection of images. Gibson's insightful introduction gives an insider's overview of street photography, illuminating its historic importance and its renaissance in the digital age.

The close relationship between journalist and photographer is studied in this selection of work by a wide range of photographers with whom John Pilger has worked or been inspired by. Spanning 35 years, the book covers trouble-spots in regional locations from South East Asia, Africa, South America to the USA and UK and Pilger praises the courage and integrity of the photographers in the face of warfare, political upheaval and tense circumstances.

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.

By March 1945, the Red Army had closed in on Berlin. Marshal Zhukov, with almost a million soldiers and 20,000 tanks and guns at his disposal, launched his assault of the Seelow Heights. While costly with 30,000 Russians killed, it brought the Russian Army to the gates of the capital. On 20 April, Hitler's 56th birthday, Soviet artillery began a massive bombardment of the doomed city. The Fuhrer ordered every soldier, Hitlerjugend and Volksstrum to fight to the death. The house-to-house fighting that followed was brutal and savage with heavy casualties for both military and civilians. Using superb Russian and German imagery this fine Images of War series book describes the Russian assault and Nazi last-ditch defence of Hitler's capital during the final days of the Third Reich.

Danish photographer Jacob Holdt is internationally revered for his vision of America, as portrayed in classic volumes like "American Pictures" and "United States 1970-1975." It is a vision which has inspired many, both in its extremity (the director Lars von Trier is reputedly a fan) and in its tenacity. Holdt arrived in the U.S. in the early 70s with almost no money, and hitchhiked all over the U.S., earning a living by selling blood, and proceeded to build an amazing portrait of the margins of America over the course of his 100,000-mile journey. This monograph continues Holdt's fascination with American society, with a portfolio of photographs from the 70s to the present. Holdt's photographs document the social realities of the people he travels with, spanning the demographic from poor families to millionaires, junkies and even members of the Ku Klux Klan.

Anup Shah and Fiona Rogers have spent much of the last decade in the company of the world-famous chimpanzees of Tanzania's Gombe National Park, getting to know their characters and learning about the intricacies of their lives. Tales from Gombe provides an unparalled insight into their world. Through endearing stories and stunningly intimate photography, it tells the story of their lives, an epic saga full of convoluted plots, family alliances, intrigue, love, passion, suffering, ambition, politics, puzzles, surprises and controversies. The chimpanzees of Tanzania's Gombe National Park are probably the most famous group of wild animals in history, having been observed and chronicled for more than 50 years. Through studies initiated by the palaeontologist and anthropologist Louis Leakey and carried out by the primatologist Dr Jane Goodall, people worldwide know some of their names and stories. In Tales from Gombe Anup Shah and Fiona Rogers introduce us to all the different characters in this unique family, from the bold and mischievous Google and the powerful Titan to the enigmatic Freud.They tell the dramatic story of this unusual society, describing all that has happened since they started studying them, while beautifully capturing the daily interactions of the various characters. The combination of breathtaking photography and rich social history provides the reader with a thought-provoking experience and evokes a strong sense of empathy and respect for chimpanzees. Highly captivating and often deeply moving, Tales from Gombe will inspire all those who read it to learn more about our closest cousins.

"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.

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

For generations, the women of the South African Ndebele tribe have produced a rich, living art. They continue to do so today, conjuring up on the walls of their houses a world of spontaneous forms with intricate beadwork and wall painting. Their dynamic compositions and blazing colors show a bold graphic quality that makes them appear stunningly fresh and modern.

Margaret Courtney-Clarke spent five years visiting the Ndebele and recording their art. Her work on this book began long before the political upheavals following the end of apartheid and the coming to power of the black majority in South Africa. The Ndebele from the southern Transvaal, whose art is documented here, were violently displaced and forcibly resettled in the newly created KwaNdebele homeland. During her later visits Courtney-Clarke discovered that more and more of her favorite paintings had decayed or disappeared after the family had either moved away or been forcibly resettled. The result in several cases is that her photographs are the only surviving documents of some of the most impressive of Ndebele artworks.

These photographs bear witness to a people who, despite unspeakable suffering, have continued to decorate their surroundings with breathtaking brilliance and passion.

As the visual component of contemporary media has overtaken the verbal, visual reportage has established a unique and extremely significant role in 21st-century culture. Julianne Newton has prepared this comprehensive analysis of the development of the role of visual reportage as a critical player in the evolution of our understanding of ourselves, others, and the world. "The Burden of Visual Truth" offers a first assessment of the role of visual journalism within the context of the complex, cross-disciplinary pool of literature and ideas required for synthesis.
Newton approaches the subject matter from several perspectives, examining the theoretical and ideological bases for visual truth, particularly as conveyed by the news media, and applying relevant research on photojournalism and reality imagery to contemporary newspaper, broadcast, and internet professional practice. She extends visual communication theory by proposing an ecology of the visual for 21st century life and developing a typology of human visual behavior. Scholars in visual studies, media studies, journalism, nonverbal communication, cultural history, and psychology will find this analysis invaluable as a comprehensive base for studying reality imaging and human visual behavior. The volume also is appropriate for journalism and media studies coursework at the undergraduate and graduate levels. With its conclusions about the future of visual reportage, "The Burden of Visual Truth" also will be compelling reading for journalism and mass communication professionals concerned with improving media credibility and maintaining a significant course for journalism in the 21st century. For all who seek to understand the role of visual media in the formation of their views of the world and of their own identities, this volume is a must-read.

This concise and fascinating narrative traces the story of Islam from its birth in the seventh century to its remarkable growth. Its customs, traditions and arts are illustrated in photos and line drawings.

In today's image-saturated culture, the visual documentation of suffering around the world is more prevalent than ever. Yet instead of always deepening the knowledge or compassion of viewers, conflict photography can result in fatigue or even inspire apathy. Given this tension between the genre's ostensible goals and its effects, what is the purpose behind taking and showing images of war and crisis? Conversations on Conflict Photography invites readers to think through these issues via conversations with award-winning photographers, as well as leading photo editors and key representatives of the major human rights and humanitarian organizations. Framed by critical-historical essays, these dialogues explore the complexities and ethical dilemmas of this line of work. The practitioners relate the struggles of their craft, from brushes with death on the frontlines to the battles for space, resources, and attention in our media-driven culture. Despite these obstacles, they remain true to a purpose, one that is palpable as they celebrate remarkable success stories: from changing the life of a single individual to raising broad awareness about human rights issues. Opening with an insightful foreword by the renowned Sebastian Junger and richly illustrated with challenging, painful, and sometimes beautiful images, Conversations offers a uniquely rounded examination of the value of conflict photography in today's world.

Largely isolated from the world for more than four decades, Myanmar has made a remarkable return to the global stage following a political transformation that represents a watershed moment in the country's history. Now, for the first time ever, the rich culture, stunning landscapes and diverse peoples of the country are presented in a unique visual time capsule. Here is the new Myanmar as seen over a single week by a team of thirty famous photographers from eleven different countries. Their mission? To capture the life and spirit of Myanmar from every angle in every corner of the country.

Over the course of 10 years, photographer Rocco Rorandelli, travelled to India, China, Indonesia, USA, Germany, Bulgaria, Nigeria, Slovenia and Italy to document the impact of the tobacco industry on health, the economy and the environment. In Bitter Leaves, the resulting photographs are presented alongside texts by scientist Dr Judith MacKay, collectively examining the complexity of this global industry and the influence of corporate mechanisms and power

A photographic essay that explores a wide spectrum of experiences told from the perspective of a diverse group of young people, ages 14-24, identifying as queer (lesbian, gay, bisexual, transgender, or questioning), "Speaking OUT: Queer Youth in Focus" presents portraits without judgment or stereotype by eliminating environmental influence with a stark white backdrop. This backdrop acts as a blank canvas, where each subject's personal thoughts are handwritten onto the final photographic print. With more than 65 portraits photographed over a period of 10 years, the book provides rare insight into the passions, confusions, prejudices, joys, and sorrows felt by queer youth and gives a voice to an underserved group of people that are seldom heard and often silenced. The collaboration of image and first-person narrative serves to provide an outlet, show support, create dialogue, and help those who struggle.

With the American-supported South Vietnamese government verging on collapse in early 1965, American President Lyndon Johnson decided to commit American conventional ground forces in the form of a United States Marine Corps (USMC) brigade of approximately 3,000 men on March 8, 1965. So began a massive and costly 10-year commitment. At its height in 1968, the USMC had 86,000 men in South Vietnam. Almost 500,000 Marines would eventually rotate in out of South Vietnam during their typical one-year tours of duty. In the end, the fighting during such well-known battles at Con Tien, Chu Lai, Hue, Khe Sanh and Dong Ha and thousands of now forgotten smaller-scale engagements would cost the USMC 13,070 killed in action and 88,630 wounded, more casualties than they suffered during the Second World War. In this book, well-known military historian Michael Green using hundreds of dramatic images tells the dramatic and gallant story of the Marines' contribution to an unwinnable war; the battles, their equipment, from rifles to helicopters and jets, and the strategy adopted by the Corps.

THE BOOK BEHIND THE HIT CHANNEL 5 DOCUMENTARY

A glimpse of life inside the world’s most secretive country, as told by Britain’s best-loved travel writer.

In May 2018, former Monty Python stalwart and intrepid globetrotter Michael Palin spent two weeks in the notoriously secretive Democratic People’s Republic of Korea, a cut-off land without internet or phone signal, where the countryside has barely moved beyond a centuries-old peasant economy but where the cities have gleaming skyscrapers and luxurious underground train stations. His resulting documentary for Channel 5 was widely acclaimed.

Now he shares his day-by-day diary of his visit, in which he describes not only what he saw – and his fleeting views of what the authorities didn’t want him to see – but recounts the conversations he had with the country’s inhabitants, talks candidly about his encounters with officialdom, and records his musings about a land wholly unlike any other he has ever visited – one that inspires fascination and fear in equal measure.

Written with Palin’s trademark warmth and wit, and illustrated with beautiful colour photographs throughout, the journal offers a rare insight into the North Korea behind the headlines.

The current decline of print journalism, the rise of the Internet and the advent of digital photography provides the perfect point in time from which to reflect on the ubiquity of the news picture. Powerful and controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these in a broader context by defining the news picture itself in all its forms.For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best thinking on this fascinating topic, this book considers the news picture through history, from its early form in the eighteenth-century broadside, through the press heyday in daily and weekly newspapers, to the rise of broadcast news and the current day. It examines the news picture in all its forms, depicting sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film, video and YouTube-based smart phone journalism. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in our rich visual culture.

The devoted journalists at the Chicago Tribune have been reporting the city's news for 170 years. As a result, the paper has amassed an inimitable, as-it-happened history of its hometown, a city first incorporated in 1837 that rapidly grew to become the third-largest city in the United States. Since 2011, the Chicago Tribune has been mining its vast archive of photos and stories for its weekly feature Chicago Flashback, which deals with the significant people and events that have shaped the city's history and culture from the paper's founding in 1847 to the present day. Now the editors of the Tribune have carefully collected the best, most interesting Chicago Flashback features into a single coffee-table volume. Each story is accompanied by at least one black-and-white image from the paper's fabled photo vault located deep below Michigan Avenue's famed Tribune Tower. Chicago Flashback offers readers a unique perspective on the city's long and colorful history.