'Cuba Cars and Cigars' is full of glorious colour images of the rare and varied Cuban-owned 1950s American and European automobiles, trucks, and station wagons that were imported before 1961. Among the famous Marques that feature are Cadillacs, Chevies, Buick, Dodge, Oldsmobile, Ford, Packard, De Soto, Pontiac, Plymouth, Edsel, Mercury and Metropolitan, Hillman, Singer and Austin, Nash Sedans, a Lloyd 600 German 2-cylinder/4-stroke 596cc car, Ramblers and SAABs, Mercs, Humber, Standard Vanguard, Ford Consul/Zephyr, Hillman Husky and Minx, Singer Gazelle and Austin. Most of these vehicles are still in running order, and are passed down from generation to generation. Trucks include Fords, a Fargo, Dodges and Chevys, not forgetting cigars, street urchins, and the lovely ladies of Havana. All of these are uniquely photographed, written and compiled by 'our man in Havana'.

The term Panzergrenadier was introduced in 1942 and applied equally to the infantry component of Wehrmacht, Luftwaffe and later Waffen-SS Panzergrenadiere divisions. As this classic new Images of War book describes, these elite divisions fought as mechanized infantry and escort for and in close cooperation with panzers and other armoured fighting vehicles. Trained to fight both mounted and on foot, their priority was to maintain the fast momentum of armoured troops on the battlefield. Using a wealth of rare, often unpublished, photographs with detailed captions and text, the author charts the fighting record of the Wehrmacht and Luftwaffe Panzergrenadiertruppe units. This includes their initial successes on the Eastern Front. But as defeat approached, they were forced on the defensive on all fronts including the bitter fighting in Italy and the Western Front. As well as describing their many actions, the book details the vehicles and weapons used and main personalities.

In the summer of 1936, writer James Agee and photographer Walker Evans, on assignment
for "Fortune" magazine, went to central Alabama to document the lives of three white
sharecropper families. Agee's editors killed the article, and after a torturous five-year
struggle to do artistic justice to the material, the author finally published it in book form
as "Let Us Now Praise Famous Men," only to see it sink with barely a ripple. The posthumous
revival of Agee's literary fortunes led to the work's reissue in 1960, its adoption as an unofficial
bible by civil rights workers, and its enshrinement as an American classic. It has
remained in print ever since.
In this, the third volume in The Works of James Agee series, editor Hugh Davis not
only offers a thoroughly annotated edition of the Agee-Evans masterpiece, featuring invaluable
explanatory notes as well as notes comparing the published work to extant copies of the
original manuscript, but also supplements that text with a wealth of additional material: an
insightful critical essay, variant versions of key sections, unused chapters, correspondence
between Agee and others involved in the book's publication (notably Houghton Mifflin editor
Robert Linscott), generous selections from the author's notebooks, and much more. This
volume opens with the original gallery of Evans's thirty-one photographs from the 1941
edition and also includes, as part of the supplementary material, the expanded gallery of
sixty-two photos that appeared in the 1960 edition. Here as well is the text of the rejected
"Fortune" article, "Cotton Tenants," fully annotated for the first time.
Informed by Agee's love of his subjects, his acute observational skills, and his poetic,
passionate, raging voice--not to mention the stark artistry of Evan's black and white photography
"Let Us Now Praise Famous Men" is a book that to this day defies easy classification.
This volume recaptures the aesthetic impact of the original, corrects errors from earlier
editions, and, most important, illuminates the difficult process that spawned its creation.

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.

Gary Otte accompanied the Aga Khan as a photographer for more than thirty years, and gained unique access to the archives of the Prince at Aiglemont in France. Presented for the first time in one volume, these images offer a narrative of the Aga Khan's life and work as a public figure and private citizen. More than 200 photos, each with a caption, span eight decades and forty-eight different countries, and include the work of Gary Otte and fifty other photographers. From his childhood years in Nairobi, Kenya, to his education at Harvard and his numerous visits to various countries all over the world, the photographs above all illustrate the Aga Khan's numerous achievements in the areas such as economic development, education, international diplomacy, humanitarian aid, and architecture in Islamic countries, especially through the actions of the Aga Khan Development Network (AKDN). This unprecedented collection of images is certain to interest anyone curious about the life of a man who has straddled the globe in more ways than one.

Yo Soy Fidel follows the cortege of Fidel Castro, former Cuban revolutionary and politician, over a period of several days in late 2016. Michael Christopher Brown leaned out a rear passenger window of his passing vehicle in order to photograph Cubans waiting alongside the highway for Fidel's military convoy, carrying his cremated remains from Havana to Santiago, to pass. The route mirrored Fidel's post-revolution journey from Santiago to Havana in 1959, which helped solidify his hero and legend. In Yo Soy Fidel , fragments of this initial image have survived his death though perhaps inevitably lead to a question of what is to come. A country largely seen for half a century as a symbol of dignity and hope in the fight against imperialism, Cuba has a choice - stay true to Fidel's revolutionary path or succumb to globalization and all it entails.