It is a story told through the eyes of two ordinary travelers who attempt to portray local lifestyles and narratives by means of photography. Since the project’s launch on Instagram, it has become a worldwide Internet sensation, emerging as a leading news feature and gathering millions of views on social media and the news sites that covered it. In each stunning image, photographer Murad Osmann is led to a new location by his girlfriend, Nataly Zakharova.These images remind us that in the hustle and bustle of daily life, we so often forget to stop and appreciate the things that surround us—the historical and architectural heritage left to us by our ancestors. Readers join Osmann from the point of view of the main character and are taken on a journey to different historical and cultural sites. The project aims to acquaint readers with different lifestyles. For Osmann and Zakharova, this theme seems infinite, as there are an endless number of places to visit on our planet. Paging through the book, readers will be invited to see something familiar to them from another point of view, via the lens of Osmann’s camera.Follow Zakharova and Osmann on a trip around the world, through such locations as Moscow, Madrid, Ibiza, Hong Kong, New York, and London.

    Minutes to Midnight is the ambitious photographic record of that adventure, in which Parke presents a proud but uneasy nation struggling to craft its identity from different cultures and traditions. Minutes to Midnight merges traditional documentary techniques and imagination to create a dark visual narrative portraying Australia with a mix of nostalgia, romanticism and brooding realism. This is not a record of the physical landscape but of an emotional one. It is a story of human anxiety and intensity which, although told from Australia, represents a universal human condition in the world today.

    I don't know if this is true or false because all that's real for me is remembrance." In her old age, Dora reflects on the major influences in her life: her mother, her career in the theater, and her one true love. Set in Brazil in the early part of the century, Dora, Doralina is a story about power. Through her fierce resistance to her mother and her later life as a working woman and widow, Doralina attempts to define herself in a time and culture which places formidable obstacles before women. Married off by her mother to a man she does not love, told what to wear and eat, Dora's reclaiming of herself is full of both discovery and rage. For her, independence is the right to protect herself and make her own choices. From a life confined by religion and "respectability," even her passionate attachment to a hard-drinking smuggler contains an act of free will previously unavailable to her. Dora, Doralina is an intimate, realistic, and vivid glimpse of one woman's struggle for independence, for a life in which she owns her actions, her pleasure, and her pain.

    In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.Francesca Woodman (1958-1981) was born in Denver, Colorado, to the well-known artists George and Betty Woodman. In 1975 she attended the Rhode Island School of Design, and in 1979 she moved to New York, to attempt to build a career in photography. In 1981, at the age of 22, she committed suicide.

    Ever since the early 1970s Goldin has lived with and among drag queens, documenting both their glamour and their struggles. The Other Side is her very personal declaration of love and gratitude to these drag queens, who showed her a way out of the captivity of pre-packaged, socially prescribed identity. As she put it: "The pictures in this book are not of people suffering gender dysphoria but rather expressing gender euphoria.... The people in these pictures are truly revolutionary; they are the real winners in the battle of the sexes because they have stepped out of the ring". In contrast to much of the early 90s drag queen mania, The Other Side has brilliantly passed the test of time: Goldin's photographs are as beautiful, moving, and vibrant as ever, heralding the utopian promises of a world where gender has stopped being a prison -- a vision that remains as vital and acute as it was when the book was first published.