I believe this is a function of the vector that the documentary photographer must have, to show one person's existence to another."—Sebastião SalgadoIllustrated with a compelling image from each photographer, Witness in Our Time traces the recent history of social documentary photography in the words of twenty-two of the genre's best photographers, editors, and curators, showing that the profession remains vital, innovative, and committed to social change. Featuring interviews with Hansel Mieth, Walter Rosenblum, Michelle Vignes, Wayne Miller, Peter Magubane, Matt Herron, Jill Freedman, Mary Ellen Mark, Earl Dotter, Eugene Richards, Susan Meiselas, Sebastião Salgado, Graciela Iturbide, Antonin Kratochvil, Donna Ferrato, Joseph Rodriguez, Dayanita Singh, Fazal Sheikh, Gifford Hampshire, Peter Howe, Colin Jacobson, and Ann Wilkes Tucker.Introduction: Seeing and believing / Kerry Tremain --Hansel Mieth: the depression and the early days of Life --Walter Rosenblum: Lewis Hine, Paul Strand, and the Photo League --Michelle Vignes: Magnum Photo Agency : the early years --Wayne Miller: World War II and the family of man --Peter Magubane: a black photographer in Apartheid South Africa --Matt Herron: the Civil Rights movement and the Southern documentary project --Jill Freedman: Resurrection City --Mary Ellen Mark: streetwise photographer --Earl Dotter: the United Mine Workers --Eugene Richards: Americans we --Susan Meiselas: Central America and human rights --Sebastião Salgado: workers --Graciela Iturbide: the indigenous of Mexico --Antonin Kratochvil: the fall of the Iron Curtain --Donna Ferrato: living with the enemy : domestic violence --Joseph Rodriguez: in the barrio --Dayanita Singh: a truer India --Fazal Sheikh: portrait of a refugee --Gifford Hampshire: the Environmental Protection Agency's Project DOCUMERICA --Peter Howe: Life magazine and Outtakes --Colin Jacobson: Independent magazine and Reportage --Anne Wilkes Tucker: the museum context --Fred Ritchin: the fish are last to know about the water: the emerging digital revolution --Rondal Partridge: Dorothea Lange in the field --Don McCullin: Vietnam : the Battle of Hue, 1968 --Bill Owens: Suburbia and a passion for seeing his world --Larry Fink: Social graces --David Goldblatt: once an enemy : Apartheid and the New South Africa --Maya Goded: Tierra Negra --Afterword: Witness in our time / Ken Light

    From Robert Capa's stark photograph of a Loyalist soldier being shot in the head during the Spanish Civil War to Eve Arnold's astonishingly intimate portraits of well-known faces - from Joan Crawford to Malcolm X - Magnum has changed how we perceive our political leaders, social crises, and the communities next door.Magnum's photographers are some of the most talented, brave, and resourceful in the world: the founders, Robert Capa, David Seymour, George Rodger, and Henri Cartier-Bresson; and recruits, including Eve Arnold, Bruce Davidson, Mary Ellen Mark, Susan Meiselas, Inge Morath, James Nachtwey, Eugene Richards, and Sebastiao Salgado. Magnum follows them on assignment, facing bodyguards and visa troubles and taking to the risk-filled trenches of several wars for the perfect shot. Full of wonderful stories and heroic feats, Magnum is an essential volume for anyone interested in photography or photojournalism.

    Featuring brutally compassionate photographs taken from 1990-99, inspired by an overwhelming belief in the human possibility of change, this volume is a definitive selection from Nachtwey's astonishing portfolio. It documents today's conflicts and their victims, from Somalia's famine to genocide in Rwanda, from Romania's abandoned orphans and 'irrecoverables' to the lives of India's 'untouchables', from war in Bosnia to conflict in Chechnya. Inferno is an evocative visual insight into modern history, bringing it disturbingly close to our consciousness.

    This book is a memorial to those men and women, and in many cases it includes the last photographs they took.    Horst Faas and Tim Page, two photographers who worked and were wounded in Vietnam, have gathered many thousands of pictures by those who were killed. Their search has taken them through the archives in Hanoi as well as those of Western agencies. In some cases families have generously provided access to private files where unknown bodies of work have lain unseen for more than forty years.    The list of the dead includes some of the greatest photographers of the century, such as Robert Capa and Larry Burrows, and some who had been working in Vietnam for only a matter of days before their deaths. A number of the Cambodian photographers working for the Western press were executed. Other photographers, like Sean Flynn and Dana Stone, disappeared. Their loss inspired Tim Page to begin this memorial.    The resulting sequence of photographs follows the course of the war and the transformation of the serene landscapes of Cambodia and Vietnam into scenes of nightmarish devastation. At the moments of intense battle one is reminded not only of the courage of the photographers but of the compassion amid the brutality of war. These photographers were intimate with war to a degree that may well be denied future generations. That intimacy led to their deaths. Their photographs are their legacy.

    

    When I'm there, sitting with those folks, listening and talking, he said to Coles, I'm part of that life, and I'm near it in my head, too.... Back here, sitting near this typewriter--its different. I'm a writer. I'm a doctor living in Rutherford who is describing 'a world elsewhere.' Williams captured the great difficulty in documentary writing--the gulf that separates the reality of the subject from the point of view of the observer . Now, in this thought-provoking volume, the renowned child psychiatrist Robert Coles, author of the Pulitzer Prize-winning Children in Crisis series, offers a penetrating look into the nature of documentary work. Utilizing the documentaries of writers, photographers, and others, Coles shows how their prose and pictures are influenced by the observer's frame of reference: their social and educational background, personal morals, and political beliefs. He discusses literary documentaries: James Agee's searching portrait of Depression-era tenant farmers, Let Us Now Praise Famous Men, and George Orwell's passionate description of England's coal-miners, The Road to Wigan Pier. Like many documentarians, Coles argues, Agee and Orwell did not try to be objective, but instead showered unadulterated praise on the noble poor and vituperative contempt on the more privileged classes (including themselves) for exploiting these workers. Documentary photographs could be equally revealing about the observer. Coles analyzes how famous photographers such as Walker Evans and Dorthea Lange edited and cropped their pictures to produce a desired effect. Even the shield of the camera could not hide the presence of the photographer. Coles also illuminates his points through his personal portraits of William Carlos Williams; Robert Moses, one of the leaders of the Student Non-Violent Coordinating Committee during the 1960s; Erik H. Erikson, biographer of Mahatma Gandhi and Martin Luther; and others. Documentary work, Coles concludes, is more a narrative constructed by the observer than a true slice of reality. With the growth in popularity of films such as Ken Burns's The Civil War and the controversial basketball documentary Hoop Dreams, the question of what is real in documentary work is more pressing than ever. Through revealing discussions with documentarians and insightful analysis of their work, complemented by dramatic black-and-white photographs from Lange and Evans, Doing Documentary Work will provoke the reader into reconsidering how fine the line is between truth and fiction. It is an invaluable resource for students of the documentary and anyone interested in this important genre.

    Students will receive a grounding in areas that vary from treatment to organizational and community settings. This edition also includes of new case studies, practice examples and guiding principles.

    Good journalism builds communities, arms citizens with important information, and serves as a public watchdog for civic, national, and global issues. But what happens when the news turns its back on its public role? Leonard Downie Jr., executive editor of The Washington Post, and Robert G. Kaiser, associate editor and senior correspondent, report on a growing crisis in American journalism. From the corporatization that leads media moguls to slash content for profit, to newsrooms that ignore global crises to report on personal entertainment, these veteran journalists chronicle an erosion of independent, relevant journalism. In the process, they make clear why incorruptible reporting is crucial to American society. Rooted in interviews and first-hand accounts, the authors take us inside the politically charged world of one of America’s powerful institutions, the media.

    Given the intricacies of the industry, it's also going to be the most resistant to change. Alan Wolk, an industry veteran and longtime analyst and observer, lays out how the television industry is adapting to the digital era, explaining what's really happening in a tone that will appeal to laypeople and insiders alike. In the first section, Wolk takes us through how the industry works today, focusing on how the various players actually make money and who pays who for what. The next section deals with the changes that are taking place in the industry today–everything from time shifting to binge viewing to cord cutting–and how those changes are starting to create some seismic shifts. In the final section, Wolk reveals his predictions for the future and what the industry will look like in ten years time. Andrew Wallenstein, co-editor-in-chief of Variety says "Alan Wolk is one of the most insightful observers writing about the media business today. There's no better expert to help you navigate the confusing, complicated nexus of TV and the Internet." David Zaslav, President and CEO of Discovery Communications says "Alan Wolk has a deep understanding of the complex nature of television today… this is a fantastic primer of the business and one of the most educated perspectives on the future of our rapidly evolving industry."

    

    Fortunately, Jon McGee is an ideal guide through this dynamic marketplace. In Breakpoint, he argues that higher education is in the midst of an extraordinary moment of demographic, economic, and cultural transition that has significant implications for how colleges understand their mission, their market, and their management. Drawing from an extensive assessment of demographic and economic trends, McGee presents a broad and integrative picture of these changes while stressing the importance of decisive campus leadership. He describes the key forces that influence higher education and provides a framework from which trustees, presidents, administrators, faculty, and policy makers can address pressing issues in the aftermath of the Great Recession.Although McGee avoids endorsing one-size-fits-all solutions, he suggests a number of concrete strategies for handling prospective students and developing pedagogical practices, curricular content and delivery, and management structures. Practical and compelling, Breakpoint will help higher education leaders make choices that advance their institutional values and serve their students and the common good for generations to come.

    Techniques for using simple accessories such as bounce cards and diffusers, as well as how to improve a lighting scenario by enhancing it rather than overwhelming it, show photographers how to master this challenging aspect of portraiture.

    Uncover their mesmerizing, realistic stories of combat, courage, and distress in readable and balanced stories told from the front lines.Witness the creation of new technologies of destruction: tanks, planes, and submarines; machine guns and field artillery; poison gas and chemical warfare. It introduced U-boat packs and strategic bombing, unrestricted war on civilians and mistreatment of prisoners.World War I reduced Europe’s mightiest empires to rubble, killed twenty million people, and cracked the foundations of our modern world. In its wake, empires toppled, monarchies fell, and whole populations lost their national identities.If you like gripping, authentic accounts of life and combat during WWI, then you won't want to miss WWI: Tales from the Trenches.

    Navy Commander Michael Abrashoff attracted worldwide media attention for his success in turning around a struggling ship, the USS "Benfold"--the subject of his acclaimed bestseller, "It's Your Ship." Since then, he's been a fixture on the business lecture circuit, spreading an empowering message that any organization can be turned around with compassionate but firm leadership. Abrashoff never claimed to have all the answers. He also knew that there were plenty of other creative leaders in the navy, army, air force, marine corps, and even the coast guard who could teach businesspeople how to motivate, inspire, and get great results under pressure. So he asked around, found some fascinating people in every branch of the U.S. military and the business world, and interviewed them about leadership and teambuilding. The result is "Get Your Ship Together"--a book that will be just as valuable as "It's Your Ship." For example, Abrashoff introduces us to a working-class enlisted man who rose rapidly in the navy for his creative leadership under fire; an army platoon leader who fought in Afghanistan; the first woman to fly an Apache helicopter in combat; a former commander of the air force's elite Blue Angels; and many other unsung heroes. Abrashoff distills their stories into fresh lessons that can be applied in the business world, such as: Make a contract with your people and honor it Develop your subordinates better so you can buy back a little quality of life Conduct the battle on your terms, not those of your adversary

    Forever Frida celebrates all things Frida, so you can enjoy her art, her words, her style, and her badass attitude every day. Viva Frida!