Its goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Each volume is introduced by a well-known student of the featured photographer. In this book, Larry Fink--well-known for his layered pictures in social settings--explores composing photographs and improvising within a scene to create images with both feeling and meaning. Through words and photographs, he reveals insight into his own practice and discusses a wide range of creative issues, from connecting with the subject in front of the lens to shaping a vision that is authentic. Photographer Lisa Kereszi, a student of Larry Fink, provides the introduction.Larry Fink (born 1941) has been a professor at Yale University School of Art; Cooper Union School of Art and Architecture; Parsons the New School for Design; and Tyler School of Art, Temple University. Currently, he is a tenured professor of photography at Bard College. His work has been widely exhibited in the United States, including solo exhibitions at Light Gallery, New York; Massachusetts Institute of Technology, Cambridge; Museum of Modern Art, New York; and San Francisco Museum of Modern Art.Lisa Kereszi is a photographer and educator. She is now the director of undergraduate studies at the Yale University School of Art, where she has taught since 2004. She has published five books, including "Fun and Games" and "Joe's Junk Yard." Her work is in the collections of the Whitney Museum of American Art, New York, and the Brooklyn Museum, and has appeared in the "New Yorker," "Harper's" and the "New York Times Magazine."

     Nothing could have prepared him for the reality he ended up facing. Placing his focus on the day to day existence of the soldiers in the trenches, Adams presents a grim picture of mud-coated billets, relentless artillery barrages, working parties, training and the art of military sniping. Just as it would have been for the soldiers’ lives, Adams heightens his work with an emotive account of his first night patrol, the detonation of mines, battlefield duels and being wounded whilst out wiring in No Man’s Land. Understated and striving for truth over melodrama, Nothing of Importance is the original memoir of the First World War — the only record published while the conflict was still being fought — and the definitive account of trench warfare. Bernard Adams (1890-1917) was a British Army officer, joining 1 Royal Welsh Fusiliers as a Lieutenant in November 1914. He was the first of a triumvirate of authors who, for a time, served simultaneously in the same battalion: the second was Siegfried Sassoon, the third Robert Graves. Written whilst convalescing in 1916, he did not live to see it published.

    But with a beautiful defector of dubious loyalties guiding him, Maxwell's mission could take a wrong turn at any moment...

    The boats patrolled the coast and rivers of South Vietnam, with the average age of the crew being twenty-four. Their days consisted of deadly combat, intense lightning firefights, storms and many hidden dangers.This action-packed story of combat written by Dan Daly, a Vietnam combat veteran who was the Officer in Charge of PCF 76 makes you part of the Swift Boat crew. The six man crew of PCF 76 were volunteers from all over the United States, eager to serve their country in a highly unique type of duty not seen since the PT boats of WWII. This inexperienced and disparate group of men would meld into a combat team - a team that formed an unbreakable, lifelong bond.After training they were plunged into a 12 month tour of duty. Combat took place in the closest confines imaginable, where the enemy were hidden behind a passing sand dune or a single sniper could be concealed in an onshore bunker, mines might be submerged at every fork in the river. The enemy was all around you, hiding, waiting, while your fifty-foot Swift Boat works its way upriver. In many cases the rivers became so narrow there was barely room to maneuver or turn around. The only way out might be into a deadly ambush. Humor and a touch of romance relieve the tension in this thrilling ride with America's finest.

    Revolutionary in their day, Group f.64 was one of the first modern art movements equally defined by women. From the San Francisco Bay Area, its influence extended internationally, contributing significantly to the recognition of photography as a fine art.The group-first identified as such in a 1932 exhibition-was comprised of strongly individualist artists, brought together by a common philosophy, and held together in a tangle of dynamic relationships. They shared a conviction that photography must emphasize its unique capabilities-those that distinguished it from other arts-in order to establish the medium's identity. Their name, f.64, they took from a very small lens aperture used with their large format cameras, a pinprick that allowed them to capture the greatest possible depth of field in their lustrous, sharply detailed prints. In today's digital world, these “straight” photography champions are increasingly revered.Mary Alinder is uniquely positioned to write this first group biography. A former assistant to Ansel Adams, she knew most of the artists featured. Just as importantly, she understands the art. Featuring fifty photographs by and of its members, Group f.64 details a transformative period in art with narrative flair.

    Churchill, 1948: World War II was the defining event of our age—the climactic clash between liberty and tyranny. It led to revolutions, the demise of empires, a protracted Cold War, and religious strife still not ended. Yet Churchill maintained that it was all avoidable. Here is a transformative view of Churchill’s theories, prescriptions, actions, and the degree to which he pursued them in the decade before the war. It shows that he was both right and wrong: right that Hitler could have been stopped; wrong that he did all he could to stop him. It is based on what really happened—evidence that has been “hiding in public” for many years, thoroughly referenced in Churchill’s words and those of his contemporaries. Richard M. Langworth began his Churchill work in 1968 when he organized the Churchill Study Unit, which later became the Churchill Centre. He served as its president and board chairman and was editor of its journal Finest Hour from 1982 to 2014. In November 2014, he was appointed senior fellow for Hillsdale College’s Churchill Project. Mr. Langworth published the first American edition of Churchill’s India, is the author of A Connoisseur’s Guide to the Books of Sir Winston Churchill, and is the editor of Churchill by Himself, The Definitive Wit of Winston Churchill, The Patriot’s Churchill, All Will Be Well: Good Advice from Winston Churchill, and Churchill in His Own Words. His next book is Winston Churchill, Urban Myths and Reality. In 1998, Richard Langworth was appointed a Commander of the Most Excellent Order of the British Empire by HM The Queen “for services to Anglo-American understanding and the memory of Sir Winston Churchill.”

    Everyone knows about Navy SEALs and Green Berets but nobody knows about the deep recce, sabotage, and direct action missions conducted by the Rhodesian SAS. The Rhodesian Light Infantry was a killing machine, participating in combat jumps every night during the heat of the Bush War. The Selous Scouts were perhaps the most innovative and daring unconventional warfare unit in history which would pair white soldiers with turncoat black “former” terrorists who would then infiltrate enemy camps.US military veteran and historian Dan Tharp covers each of these three units in depth.(18,000 words)

    platoon, assigned to an outpost in the Korengal Valley--an area considered one of the most dangerous Afghan postings in the war against the Taliban--but it is as much about love and male vulnerability as it is about bravery and war. Embedded with writer Sebastian Junger, and shooting over the course of one year, photographer Tim Hetherington made a series of images that prove surprisingly tender in their depiction of camaraderie and vulnerability (among the most moving is a series of the platoon sleeping). Alongside revealing interviews with Hetherington's subjects and an introduction by Junger (with whom Hetherington co-directed the award-winning film Restrepo, about the work of the battalion), the book is also illustrated with graphics of the tattoos the soldiers gave each other in the camp. The title Infidel is taken from the tattoo the men adopted as a badge of their comradeship. Warm, moving and full of humor, this book is a tribute to the "rough men ready to do violence on our behalf" and a provocative contribution to the documentation of war in our time.Tim Hetherington was born in Liverpool, U.K., and took up photojournalism after studying literature at Oxford University. Five years spent living in Liberia resulted in the book Long Story Bit By Bit: Liberia Retold (2009), and awards for his photojournalism include World Press Photo of the Year 2007 (for his dramatic war photography from Afghanistan), the Rory Peck Award for Features (2008) and an Alfred I duPont Award for excellence in broadcast journalism while on assignment with Sebastian Junger for ABC News (2009). As a filmmaker, he has worked as both a cameraman and director/producer. Restrepo won the Grand Jury Prize at the 2010 Sundance Film Festival. He is based in New York and is a contributing photographer for Vanity Fair magazine.

    The McGann's passionate and insightful writing evokes the raucous cast of riders, promoters, and journalists thrusting through highs and lows worthy of opera. This volume stands out as a must-read book for anyone seeking to appreciate cycling's race of races." -Peter Joffre Nye, author of The Six-Day Bicycle Races: America's Jazz Age Sport and Hearts of Lions "There are LOTS of books on the Tour de France. An increasing number of them are actually written in English. However, of those, none educates Americans about this grand spectacle�s rich past. The Tour de France has a history as fascinating and sordid as Rome�s and it is high time someone undertook to explain this to our American sensibility. Our guide for the trip is a man with a ravenous appetite for both world history and bicycle racing, just the sort of person to paint a Tour champion with the dramatic grandiosity befitting Hannibal himself." -Pat Brady, Editor, Asphalt Magazine At the dawn of the 20th Century, French newspapers used bicycle races as promotions to build readership. Until 1903 these were one-day events. Looking to deliver a coup de grace in a vicious circulation war, Henri Desgrange�editor of the Parisian sports magazine L�Auto�took the suggestion of one of his writers to organize a race that would last several days longer than anything else, like the 6-day races on the track, but on the road. That�s exactly what happened. For almost 3 weeks the riders in the first Tour de France rode over dirt roads and cobblestones in a grand circumnavigation of France. The race was an electrifying success. Held annually (suspended only during the 2 World Wars), the Tour grew longer and more complex with an ever-changing set of rules, as Desgrange kept tinkering with the Tour, looking for the perfect formula for his race. Each year a new cast of riders would assemble to contest what has now become the greatest sporting event in the world.

    This one-of-a-kind anthology captures the spine tingling adventures of daring men and women who venture into Alaska's vast wilderness and look death in the eye. Danger Stalks the Land relates gripping episodes of animal attacks, avalanches, aircraft disasters, fishing, hunting, and skiing accidents, and chronicles risky climbs and reckless mountaineering amid Alaska's fantastic peaks. Through exhaustive research and interviews, author Larry Kaniut has captured in one volume, the terror and beauty of man's attempt to explore a vast and unforgiving land.

    They died only a few miles apart and yet there cannot be a bigger contrast between their legacies. Edward had been born into poverty in west London on the eve of the twentieth century, had a job washing railway carriages, was conscripted into the army at the age of eighteen and sent to the Western Front from where he would never return.He lies buried miles from home in a small military cemetery on the outskirts of an obscure town close to the French border in western Belgium. No-one has ever visited him.Like thousands of other young boys, Edward’s life and death were forgotten.By delving into and uncovering letters, poems and war diaries to reconstruct his great uncle’s brief life and needless death; Charlie fills in the blanks of Edward’s life with the experiences of similar young men giving a voice to the voiceless. Edward Connelly’s tragic story comes to represent all the young men who went off to the Great War and never came home.This is a book about the unsung heroes, the ordinary men who did their duty with utmost courage, and who deserve to be remembered.

    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.

    Thomas served in both the Atlantic and Pacific Theaters, and in some of the most important World War II battles.While on the RANGER, he participated in OPERATION LEADER, the most significant attack on Northern Europe by a US carrier during the war. During LEADER, while attacking a freight barge carrying 40 tons of ammunition, Thomas' plane was hit by anti-aircraft fire. Surprisingly, in spite of the considerable engine damage, the plane made it back to the RANGER, where Thomas crash-landed. That landing was his 13th official carrier landing.In the Pacific, Thomas participated in the numerous actions against Japanese targets in the Philippines, including strikes on Ormoc Bay, Cavite, Manilla, Santa Cruz, San Fernando, Lingayen, Mindoro, Clark Field and Aparri.Following these actions, Thomas' squadron made strikes on Formosa, French Indo-China, Saigon, Pescadores, Hainan, Amami O Shima, Iwo Jima, Okinawa, and Japan. The attack on Japan was the first attack on Japan from an aircraft carrier since the "Doolittle Raid."While on the ESSEX, just after Thomas had returned from a strike on Santa Cruz, the ship was hit by a Kamikaze piloted by Yoshinori Yamaguchi, Yoshino Special Attack Corps. Yamaguchi was flying a Yokosuba D4Y3 dive bomber. The Kamikaze attack killed 16 crewman and wounded 44.Returning from a strike on Hainan, off the Chinese coast, Thomas' plane ran out of fuel. After a harrowing water landing, Thomas and squadron photographer Montague succeeded in inflating and launching one rubber boat and his crewman Gress another. After a long day in pre-Typhoon weather with 40 foot swells, the three were rescued by the USS SULLIVANS.In recounting the events in this book, Thomas draws upon his daily journal, his letters home, and extensive interviews and research conducted over 40 years with fellow pilots and crewman. The book cites 20 interviews and 5 combat journals, and contains 209 photos documenting the ships, planes, men, and combat actions of Torpedo Squadron 4. Many of the photographs were collected by Thomas during the war and include gun photo shots, recon photos, and, remarkably, a picture of the tail of Thomas' Torpedo plane as it sinks in the China Sea following his water crash landing.

    676). He converted an abandoned storefront on Main Street into a makeshift studio and posted fliers inviting people to stop by. At first they trickled in slowly, but in the end, nearly all of Oxford stood before Feldstein's lens. Twenty years later, Feldstein decided to do it again. Only this time he invited writer Stephen G. Bloom to join him, and together they went in search of the same Oxford residents Feldstein had originally shot two decades earlier. Some had moved. Most had stayed. Others had passed away. All were marked by the passage of time.In a place like Oxford, not only does everyone know everyone else, but also everyone else's brothers, sisters, parents, grandparents, lovers, secrets, failures, dreams, and favorite pot luck recipes. This intricate web of human connections between neighbors friends, and family, is the mainstay of small town American life, a disappearing culture that is unforgettably captured in Feldstein's candid black-and-white portraiture and Bloom's astonishing rural storytelling.Meet the town auctioneer who fell in love with his wife in high school while ice-skating together on local ponds; his wife who recalls the dress she wore as his prom date over fifty years ago; a retired buck skinner who started a gospel church and awaits the rapture in 2028; the donut baker at the Depot who went from having to be weighed on a livestock scale to losing over 150 pounds with the support of all of Oxford; a twenty-one-year-old man photographed in 1984 as an infant in his father's arms, who has now survived both of his parents due to tragedy and illness.Considered side-by-side, the portraits reveal the inevitable transformations of aging: wider waistlines, wrinkled skin, eyeglasses, and bowed backs. Babies and children have instantly sprouted into young nurses, truck drivers, teachers, and rodeo riders, become Buddhists, racists, democrats, and drug addicts. The courses of lives have been irrevocably altered by deaths, births, marriages, and divorces. Some have lost God—others have found Him. But there are also those for whom it appears time has almost stood still. Kevin Somerville looks eerily identical in his 1984 and 2004 portraits, right down to his worn overalls, shaggy mane, and pale sunglasses. Only the graying of his lumberjack beard gives away the years that have passed. Face after face, story after story, what quietly emerges is a living composite of a quintessential Midwestern community, told through the words and images of its residents—then and now. In a town where newcomers are recognized by the sound of an unfamiliar engine idle, The Oxford Project invites you to discover the unexpected details, the heartbreak, and the reality of lives lived on the fringe of our urban culture.