Martin Parr is Europe's premier contemporary photographer, and The Last Resort is the book that is considered to have launched his career. Taken at the height of the Thatcher years, it depicts the "great British seaside" in all its garish glory. Described by some as cruel and voyeuristic and by others as a stunning satire on the state of Britain, early editions are now much sought after by collectors worldwide. Includes a new essay by Gerry Badger, photographer, architect, curator, and critic.

    Known as the johatsu, or the 'evaporated', they are often driven by shame and hopelessness leaving behind lost jobs, disappointed families and mounting debts. In The Vanished, journalist Léna Mauger and photographer Stéphane Remael uncover the human faces behind the phenomenon through reportage, photographs and interviews with those who left, those who stayed behind and those who help orchestrate the disappearances. Their quest to learn the stories of the johatsu weaves its way through:A Tokyo neighborhood so notorious for its petty criminal activities that it was literally erased from the maps.Reprogramming camps for sub-par bureaucrats and businessmen to become 'better' employees.The charmless citadel of Toyota City with its iron grip on its employees.The 'suicide' cliffs of Tojinbo patrolled by a man fighting to save the desperate.The desolation of Fukushima in the aftermath of the tsunami.And yet, as exotic and foreign as their stories might appear to an outsider’s eyes, the human experience shared by the interviewees remains powerfully universal.

    Whether dodging guerrillas at a cocaine market in Colombia, narrowly escaping a murderous Osama bin Laden in Afghanistan, interviewing a flatulent Colonel Gadaffi, crossing the border into Afghanistan dressed in a fetching bright blue burka or being kidnapped at gunpoint - or was it a finger in a pocket - in the backstreets of Belfast at the height of the troubles, Simpson paints a vivid picture of what being a journalist on the front line is all about, from low comedy to high drama. It's a rollercoaster ride that is sure to thrill anyone who dares to join it.

    Mine is predicated on formative years spent cleaning my father’s calf pens: Just keep shoveling until you’ve got a pile so big, someone has to notice. The fact that I cast my life’s work as slung manure simply proves that I recognize an apt metaphor when I accidentally stick it with a pitchfork. . . . Poetry was my first love, my gateway drug—still the poets are my favorites—but I quickly realized I lacked the chops or insights to survive on verse alone. But I wanted to write. Every day. And so I read everything I could about freelancing, and started shoveling."  The pieces gathered within this book draw on fifteen years of what Michael Perry calls "shovel time"—a writer going to work as the work is offered. The range of subjects is wide, from musky fishing, puking, and mountain-climbing Iraq War veterans to the frozen head of Ted Williams. Some assignments lead to self-examination of an alarming magnitude (as Perry notes, "It quickly becomes obvious that I am a self-absorbed hypochondriac forever resolving to do better nutritionally and fitness-wise but my follow-through is laughable.") But his favorites are those that allow him to turn the lens outward: "My greatest privilege," he says, "lies not in telling my own story; it lies in being trusted to tell the story of another."

    Conflict photojournalists have the opposite reaction: they actually look for trouble, and when they find it, get as close as possible and stand up to get the best shot. This thirst for the shot and the seeming nonchalance to the risks entailed earned Greg Marinovich, Joao Silva, Ken Oosterbroek, and Kevin Carter the moniker of the Bang-Bang Club. Oosterbroek was killed in township violence just days before South Africa's historic panracial elections. Carter, whose picture of a Sudanese child apparently being stalked by a vulture won him a Pulitzer Prize, killed himself shortly afterwards. Another of their posse, Gary Bernard, who had held Oosterbroek as he died, also committed suicide. The Bang-Bang Club is a memoir of a time of rivalry, comradeship, machismo, and exhilaration experienced by a band of young South African photographers as they documented their country's transition to democracy. We forget too easily the political and ethnic violence that wracked South Africa as apartheid died a slow, spasmodic death. Supporters of the ANC and Inkatha fought bloody battles every day. The white security forces were complicit in fomenting and enabling some of the worst violence. All the while, the Bang-Bang Club took pictures. And while they did, they were faced with the moral dilemma of how far they should go in pursuit of an image, and whether there was a point at which they should stop their shooting and try to intervene. This is a riveting and appalling book. It is simply written--these guys are photographers, not writers--but extremely engaging. They were adrenaline junkies who partied hard and prized the shot above all else. None of them was a hero; these men come across as overweeningly ambitious, egotistical, reckless, and selfish, though also brave and even principled. As South Africans, they were all invested in their country's future, even though, as whites, they were strangers in their own land as they covered the Hostel wars in the black townships. The mixture of the romantic appeal of the war correspondent with honest assessments of their personal failings is part of what makes this account so compelling and so singular among books of its ilk. – J. Riches

    . . . [Signs of Resistance is] visually fascinating. . . . [and] there is bigly wit here, too.”—The Washington Post In hundreds of iconic, smart, angry, clever, unforgettable images, Signs of Resistance chronicles what truly makes America great: citizens unafraid of speaking truth to power. Two hundred and forty images—from British rule and women’s suffrage to the civil rights movement and the Vietnam War; from women’s equality and Black Lives Matter to the actions of our forty-fifth president and the Women’s March—offer an inspiring, optimistic, and visually galvanizing history lesson about the power people have when they take to the streets and stand up for what’s right.

    Robert Anasi took up boxing in his twenties to keep in shape, attract women, and sharpen his knuckles for the odd bar fight. He thought of entering "the Gloves," but put it off. Finally, at age thirty-two-his last year of eligibility-he vowed to fight, although he was an old man in a sport of teenagers and a light man who had to be even lighter (125 pounds) to fight others his size.So begins Anasi's obsessive preparation for the Golden Gloves. He finds Milton, a wily and abusive trainer, and joins Milton's "Supreme Team": a black teenager who used to deal guns in Harlem, a bus driver with five kids, a hard-hitting woman champion who becomes his sparring partner. Meanwhile, he observes the changing world of amateur boxing, in which investment bankers spar with ex-convicts and everyone dreads a fatal blow to the head. With the Supreme Team, he goes to the tournament, whose outcome, it seems, is rigged, like so much in boxing life today. Robert Anasi tells his story not as a journalist on assignment but as a man in the midst of one of the great adventures of his life. The Gloves, his first book, has the feel of a contemporary classic.

    For the first time, his story is told in Brett Morgen’s Kurt Cobain: Montage of Heck, a fully authorized feature documentary released in 2015. Brett Morgen is writer, director, and producer of Kurt Cobain: Montage of Heck. Visual artist Frances Bean Cobain, Cobain’s daughter, is executive producer. This riveting book accompanies Morgen’s documentary and delve further into the material created for the film, presenting an illuminating and honest portrait of the Nirvana frontman that captures the contradictions that made up his character. The book is composed of the extended versions of the exclusive interviews featured in the film. The book also showcases the film’s incredible visuals with a mixture of animation stills, rare photography, and other treasures from Kurt Cobain’s personal archive. Director Brett Morgen also offers his personal thoughts on the creation of the film and the need to shatter the mythos that surrounds Cobain.

    You'll learn how to overcome the unique issues that confront nighttime photographers and capture images of which you'll be proud. Co-author Jennifer Wu, an elite Canon "Explorer of Light" professional photographer, has become renowned for her ability to capture nighttime phenomena, from quarter-phase moon rises to shooting stars to the ephemeral Milky Way. this new guide reveals her methods and concentrates on photographing four principal subjects: stars as points of light, star trails, the moon, and twilight. these subjects share common photo techniques and considerations, but each also requires a distinct approach. Once captured, your digital images must be fi nished on the computer; coauthor and author of the bestselling Photography: Outdoors, James Martin, delves into the settings and procedures that elevate an image from mundane to striking. This clear and practical guide will help photographers of all levels portray the stunning spectacle of the night sky, preserving those special memories and moments from a life outdoors.

    Yet writers looking for guidance on reporting and writing true stories have had few places to turn for advice. Now in Storycraft, Jack Hart, a former managing editor of the Oregonian who guided several Pulitzer Prize–winning narratives to publication, delivers what will certainly become the definitive guide to the methods and mechanics of crafting narrative nonfiction.Hart covers what writers in this genre need to know, from understanding story theory and structure, to mastering point of view and such basic elements as scene, action, and character, to drafting, revising, and editing work for publication. Revealing the stories behind the stories, Hart brings readers into the process of developing nonfiction narratives by sharing tips, anecdotes, and recommendations he forged during his decades-long career in journalism. From there, he expands the discussion to other well-known writers to show the broad range of texts, styles, genres, and media to which his advice applies. With examples that draw from magazine essays, book-length nonfiction narratives, documentaries, and radio programs, Storycraft will be an indispensable resource for years to come.

    He has witnessed life changing events, interviewed the great and good, and explained the intricacies of the world to millions of Australians as we sat in the comfort and safety of our lounge rooms. Whether strolling the history-laden corridors of the White House unhindered while waiting to interview Barack Obama, or talking with Nelson Mandela on his first day in the presidential residence in Pretoria in a room filled with the blood-soaked ghosts of apartheid, or receiving a haughty rebuke from an indignantly regal Margaret Thatcher, or exploring ideas with some of the great artists, philosophers and scientists of our time, Kerry O'Brien has sought to unearth the truth behind the news. In Australia, he has watched thirteen prime ministers come and go and has called the powerful to account without fear or favour. In this intimate ground-breaking account told with wit and insight O'Brien reflects on the big events, the lessons learned and lessons ignored, along with the foibles and strengths of public figures who construct our world. The end result is a memoir like no other - an engrossing study of a private life lived in the public eye and wrapped in nearly three-quarters of a century of social and political history.

    Malcolm is "among the most intellectually provocative of authors," writes David Lehman in The Boston Globe, "able to turn epiphanies of perception into explosions of insight."Here, in Forty-one False Starts, Malcolm brings together essays published over the course of several decades (largely in The New Yorker and The New York Review of Books) that reflect her preoccupation with artists and their work. Her subjects are painters, photographers, writers, and critics. She explores Bloomsbury's obsessive desire to create things visual and literary; the "passionate collaborations" behind Edward Weston's nudes; and the character of the German art photographer Thomas Struth, who is "haunted by the Nazi past," yet whose photographs have "a lightness of spirit." In "The Woman Who Hated Women," Malcolm delves beneath the "onyx surface" of Edith Wharton's fiction, while in "Advanced Placement" she relishes the black comedy of the Gossip Girl novels of Cecily von Zeigesar. In "Salinger's Cigarettes," Malcolm writes that "the pettiness, vulgarity, banality, and vanity that few of us are free of, and thus can tolerate in others, are like ragweed for Salinger's helplessly uncontaminated heroes and heroines." "Over and over," as Ian Frazier writes in his introduction, "she has demonstrated that nonfiction—a book of reporting, an article in a magazine, something we see every day—can rise to the highest level of literature."One of Publishers Weekly's Best Nonfiction Books of 2013

    He photographed civilians being chased out of their homes, military trucks roving over bullet‑torn battlefields, and too many bodies to count. But on April 29, 2013, during his third assignment to Syria, Alpeyrie became the story. For eighty‑one days he was bound, blindfolded, and beaten by Syrian rebels. Over the course of his captivity, Alpeyrie kept his spirits up and strove to find the humanity in his captors. He took part in their activities, taught them how to swim, prayed with them, and tried learning their language and culture. He also discovered a dormant faith within himself, one that strengthened him throughout the ordeal. The Shattered Lens is a firsthand account that “reads like a thriller” (The New York Journal of Books) by a photojournalist who has always answered the next adrenaline‑pumping assignment. Yet, during his headline‑making kidnapping and “for all his suffering, Alpeyrie expresses, in words and color photographs, the compassion of a global citizen seeing beyond his personal terror and into the nuances of human interactions” (Booklist).

    Their journey would prove an extraordinary collaboration and a watershed literary event when in 1941 "Let Us Now Praise Famous Men" was first published to enormous critical acclaim. This unsparing record of place, of the people who shaped the land, and of the rhythm of their lives today stands as one of the most influential books of the twentieth century.

    Henry Clay, Daniel Webster, Dolley Madison, Henry James as a boy with his father, Horace Greeley, Edgar Allan Poe, the Prince of Wales, and Jenny Lind were among the dignitaries photographed in Mathew Brady's studio. But it was during the Civil War that he became the founding father of what is now called photojournalism and his photography became an enduring part of American history.The Civil War was the first war in history to leave a detailed photographic record, and Mathew Brady was the war's chief visual historian. Previously, the general public had never seen in such detail the bloody particulars of war--the strewn bodies of the dead, the bloated carcasses of horses, the splintered remains of trees and fortifications, the chaos and suffering on the battlefield. Brady knew better than anyone of his era the dual power of the camera to record and to excite, to stop a moment in time and to draw the viewer vividly into that moment.He was not, in the strictest sense, a Civil War photographer. As the director of a photographic service, he assigned Alexander Gardner, James F. Gibson, and others to take photographs, often under his personal supervision; he also distributed Civil War photographs taken by others not employed by him. Ironically, Brady had accompanied the Union army to the first major battle at Bull Run, but was so shaken by the experience that throughout the rest of the war he rarely visited battlefields, except well before or after a major battle. The famous Brady photographs at Antietam were shot by Gardner and Gibson.Few books about Brady have gone beyond being collections of the photographs attributed to him, accompanied by a biographical sketch. MATHEW BRADY will be the biography of an American legend--a businessman, an accomplished and innovative technician, a suave promoter, a celebrated portrait artist, and, perhaps most important, a historian who chronicled America during its finest and gravest moments of the 19th century.