Deindustrialization is not simply an economic process, but a social and cultural one as well. The rusting detritus of our industrial past the wrecked hulks of factories, abandoned machinery too large to remove, and now-useless infrastructures has for decades been a part of the North American landscape. In recent years, however, these modern ruins have become cultural attractions, drawing increasing numbers of adventurers, artists, and those curious about a forgotten heritage.

Through a unique blend of oral history, photographs, and interpretive essays, Corporate Wasteland investigates this fascinating terrain and the phenomenon of its loss and rediscovery. Steven High and David W. Lewis begin by exploring an emerging aesthetic they term the deindustrial sublime, explaining how the ritualized demolition of landmark industrial structures served as dramatic punctuations between changing eras. They then follow the narrative path blazed by urban spelunkers, explorers who infiltrate former industrial sites and then share accounts and images of their exploits in a vibrant online community. And to understand the ways in which geographic and emotional proximity affects how deindustrialization is remembered and represented, High and Lewis focus on Youngstown, Ohio, where residents and former steelworkers still live amid the reminders of more prosperous times.

Corporate Wasteland concludes with photo essays of sites in Michigan, Ontario, West Virginia, and Pennsylvania that pair haunting images with the poignant testimonies of those who remember industrial sites as workplaces rather than monuments. Forcing readers to look beyond nostalgia, High and Lewis reinterpret our deindustrialized landscape as a historical and imaginative challenge to the ways in which we comprehend and respond to the profound disruptions wrought by globalization."

In this wonderfully illustrated book, Joshua Brown shows that the wood engravings in the illustrated newspapers of Gilded Age America were more than a quaint predecessor to our own sophisticated media. As he tells the history and traces the influence of Frank Leslie's Illustrated Newspaper, with relevant asides to Harper's Weekly, the New York Daily Graphic, and others, Brown recaptures the complexity and richness of pictorial reporting. He finds these images to be significant barometers for gauging how the general public perceived pivotal events and crises--the Civil War, Reconstruction, important labor battles, and more. This book is the best available source on the pictorial riches of Frank Leslie's newspaper and the only study to situate these images fully within the social context of Gilded Age America. Beyond the Lines illuminates the role of illustration in nineteenth-century America and gives us a new look at how the social milieu shaped the practice of illustrated journalism and was in turn shaped by it.

The Chicago Cubs of the mid-1920s through 1940 were one of the most talented and exciting ball clubs the city ever produced. The Northsiders enjoyed 14 consecutive winning seasons and claimed the National League pennant four times (1929, 1932, 1935, and 1938), but fell to a dominant American League club in each World Series appearance. Four legendary baseball names led these Cub teams during this amazing stretch. Three eventually landed in Cooperstown (McCarthy, Hornsby, Hartnett), and many believe the fourth (Grimm) should have joined them. This was also the era when Cubs Park was transformed into Wrigley Field, under the guidance of Bill Veeck Jr., with its trademark bricks and ivy, hand-operated scoreboard, and outfield bleachers.

Polish journalist Pawel Pieniazek was among the first journalists to enter the war-torn region of eastern Ukraine and Greetings from Novorossiya is his vivid firsthand account of the conflict. He was the first reporter to reach the scene when Russian troops in Ukraine accidentally shot down a civilian airliner, killing all 298 people aboard. Unlike Western journalists, his fluency in both Ukrainian and Russian granted him access and the ability to move among all sides in the conflict. With powerful color photos, telling interviews from the local population, and brilliant reportage, Pieniazek's account documents these dramatic events as they transpired. This unique firsthand view of history in the making brings to life the tragedy of Ukraine for a Western audience. Historian Timothy Snyder provides wider context in his superb introduction and explores the significance of this ongoing conflict at the border of East and West.

In the 1980s, Hackney was one of the most deprived parts of the UK, its citizens ignored by Margaret Thatcher's new vision of Britain. But at Dalston's Rio - London's oldest community cinema - the Tape/Slide Newsreel Group was giving unemployed local youth a voice. Set up in 1982, it taught photography and sound-recording skills, and championed an alternative, left-wing perspective on Hackney life. In 2016, thousands of slides were found in a filing cabinet in the Rio's basement, a legacy of this ground-breaking project. The book presents the best of the slides that were shown in newsreels before the main feature at the Rio, alongside recollections of the Tape/Slide Newsreel Group participants. This important oral history places the photos in the cultural and political context of Hackney in the 1980s, meaning that, unlike some photobooks about East London, it is connected to the communities it portrays and remains true to the original radicalism behind the Tape/Slide Newsreel Group. There are introductory essays by Andrew Woodyatt (of The Rio), about the cinema's activities in the 1980s, and by Alan Denney (the photographer and local historian who digitised all the slides) putting the archive into the context of the contemporary movements in radical community photography, plus forewords from Michael Rosen and Zawe Ashton. The archive is presented chronologically and themes include: activism, parades and protest marches; art, culture, music and festivals; social problems and community action; street life and style; urban landscapes and dereliction; work and everyday life; young and old.

Archaeologist and award-winning photographer Gavin McGuire's involvement with the Sissi Archaeological Project, where he conducted a seven year photographic study of the Bronze Age Minoan excavations under the auspices of the Belgian School in Athens, Universite Catholique de Louvain, offered an extraordinary opportunity to capture moments of human interaction during excavations as they interconnected with an ancient Minoan culture, stretching back millennia (2600-1200 BC). With the Sissi Photography Project, at a unique coastal landscape four kilometres from Malia Palace in Crete, McGuire follows a proud photographic tradition that is now facing yet another major technological change - from digital to virtual, from handheld cameras to drones and to live excavation access. It is also the age of the smartphone - easy for anyone to use, producing high quality images that regularly engages a global general audience. McGuire's approach revolves around being at the right place and at the right fleeting moment, making images that highlight motion and emotion from the more than 80 `players' on the archaeological stage for the excavation season during each July-August. There are images of scientists at work - archaeologists, anthropologists, technical specialists, local workmen digging (many proudly following in the wake of their forefathers) and restorers and conservators dealing with the thousands of finds housed at the apothiki or workshop. Yet the Sissi Project encompasses not only the dig period but includes images of the site throughout the year, showing, in part, the impact of the environment. 137 black and white photographs are accompanied by a series of short essays presented in English and Greek providing an overview of the project's photographic approach and an introduction to the long and complex relationship between archaeology and photography from their 19th century beginnings. The outcome shows that archaeological sites are not just created overnight but are the result of years of discovery, restoration and preservation. They are not just for now, but hopefully for the future. The ancient past deserves nothing less.

Sacred Shanghai by photographer and anthropologist Liz Hingley, explores the spaces, rituals and communities - in official, unofficial, public and private forms - that together weave the spiritual fabric of China's largest and most cosmopolitan city. After decades of suppression during the Mao era, China has been undergoing one of the great religious revivals of our time. Unsettled by the pace of development and globalisation, millions are turning to faith for meaning and hope in the alienating mega cities that now dominate Chinese life.

Britain is changing. Don't panic! Let's talk. Who were we? Who are we? Who do we want to be? Look back. Leap forward. Explore this treasure trove of images from the Mirror archives that expansively covers the last 100 years. Made in Britain is an epic collection of photographs chronicling Britain at work - that both reminds us of our collective power and giving us hope for the future. These images are pieces of a lost world. Ships emerge at the end of the street. The faces of tough, proud people look at us through the lens of a camera. They had their own hopes and fears. What would they say to us? This was Britain at work. We used to make stuff on an epic scale. Life was not a rose garden, but together we achieved incredible things. We built the modern world. We were always a big family, welcoming workers from around the globe. Let's start a conversation. Let's look back to leap forward. Epic goals are exciting. Epic goals bring people together. We used to make stuff. Could we make stuff again? Should we?

Concorde - named for the English and French word for 'unity' - was like no other aircraft. It is perhaps the most iconic airliner of all time, its name a byword for speed, comfort and extravagance. It captured the public's imagination and hearts, instilling them with a fervent passion. Concorde: An Icon in the News is a look at both the plane and its people. Using photos from Mirrorpix, one of the world's largest picture libraries, it tracks the airliner from the Anglo-French drawing board to the final flight, through the eyes of the people who loved it most.