War photographer Lynsey Addario’s memoir It’s What I Do is the story of how the relentless pursuit of truth, in virtually every major theater of war in the twenty-first century, has shaped her life. What she does, with clarity, beauty, and candor, is to document, often in their most extreme moments, the complex lives of others. It’s her work, but it’s much more than that: it’s her singular calling.
Lynsey Addario was just finding her way as a young photographer when September 11 changed the world. One of the few photojournalists with experience in Afghanistan, she gets the call to return and cover the American invasion. She makes a decision she would often find herself making—not to stay home, not to lead a quiet or predictable life, but to set out across the world, face the chaos of crisis, and make a name for herself.
Addario finds a way to travel with a purpose. She photographs the Afghan people before and after the Taliban reign, the civilian casualties and misunderstood insurgents of the Iraq War, as well as the burned villages and countless dead in Darfur. She exposes a culture of violence against women in the Congo and tells the riveting story of her headline-making kidnapping by pro-Qaddafi forces in the Libyan civil war.
Addario takes bravery for granted but she is not fearless. She uses her fear and it creates empathy; it is that feeling, that empathy, that is essential to her work. We see this clearly on display as she interviews rape victims in the Congo, or photographs a fallen soldier with whom she had been embedded in Iraq, or documents the tragic lives of starving Somali children. Lynsey takes us there and we begin to understand how getting to the hard truth trumps fear.
As a woman photojournalist determined to be taken as seriously as her male peers, Addario fights her way into a boys’ club of a profession. Rather than choose between her personal life and her career, Addario learns to strike a necessary balance. In the man who will become her husband, she finds at last a real love to complement her work, not take away from it, and as a new mother, she gains an all the more intensely personal understanding of the fragility of life.
Watching uprisings unfold and people fight to the death for their freedom, Addario understands she is documenting not only news but also the fate of society. It’s What I Do is more than just a snapshot of life on the front lines; it is witness to the human cost of war.
Starting with an overview of photojournalism and her experience as both a combat and domestic photographer, Stacy covers the basics of preparing for assignments, discussing such key topics as selecting suitable attire for different environments, assembling essential camera gear, developing the right approach for a story, and honing your shooting technique. beyond the fundamentals, Stacy then dives into the nitty-gritty details of photojournalism work, providing insights into living and working in harsh conditions, maintaining physical and mental health, and managing relationships with subjects.
The book interweaves hundreds of Stacy’s amazing photographs with stories of her experiences in the field, providing context for advice on everything from navigating unfamiliar locations, to properly exposing your images, to building innovative multimedia projects. Follow her into "the trenches" for the fascinating stories behind the shots, which show by example how to get the best photographs you can, even under the most challenging circumstances.
Features stunning full-color images from some of the author’s most dramatic moments as a photojournalist Offers insights on preparing for long-term assignments, working in austere environments, and reintegrating into society after a project Interweaves photography techniques with advice on interacting with subjects and creating compelling stories
Drawing on Stoughton’s unparalleled body of photographs, most rarely or never before reproduced, and supported by a deeply thoughtful narrative by political historian Richard Reeves, Portrait of Camelot is an unprecedented portrayal of the power, politics, and warmly personal aspects of Camelot’s 1,036 days.
Praise for Portrait of Camelot:
"Like the TV series Mad Men, this book is also a remarkable period piece . . . informative and beautiful." --Publishers Weekly
"This informative and beautiful book, which shouldn't stay on the coffee table, includes a DVD with film footage of the Kennedy family on vacation."
"If you care about Camelot, this is a book you won't want to miss, a perfect commemoration of a presidency that happened what seems like a very long time ago."
Over 300 black and white photos, many of them rare and never published before
Photos of men, tanks, weapons, uniforms, terrain, and much more
Excellent complement to the narratives of the Stackpole Military History Series
Ideal reference for World War II history fans, scholars, modelers, and reenactors
From its peat bogs and heather-coated hills, from its weather-beaten churches and crofters cottages to its cold clear rills choked with rainwater, the islands off the northwest coast of Scotland have been brought to vivid life by this accomplished novelist.
Now, Peter May and photographer David Wilson present a photographic record of the countless locations around the Hebridean archipelago that so inspired May when he was bringing the islands of detective Fin McLeod's childhood to the page. From the tiny southern island of Barra to the largest and most northern island of Lewis, travel the storm-whipped North Atlantic scenery with May as he once again strolls the wild and breathtaking countryside that gave birth to his masterful trilogy of novels.
On February 23, 1945, as the battle for the Japanese island stronghold of Iwo Jima raged below, Associated Press photographer Joe Rosenthal's camera captured six troops raising the Stars and Stripes on Mt. Suribachi. That photograph would go on to symbolize the Marines' valor and America's determination to win World War II. This is the story of the ten days Rosenthal spent on Iwo Jima-and how his Pulitzer-winning picture came to be.
Containing over 120 combat photographs- including shots of the flag-raising by other photographers-quotes from survivors, newspapers and magazines, battle reports and Medal of Honor citations, here is a grunt's eye view of the bloodiest battle in U.S. Marine Corps history. It also recounts "the photograph's" enduring legacy in popular culture, and reveals the fates of the flag raisers- men who became a fixture in their country's history.
Based on over fifty interviews with the man himself (as well as with his family, friends and colleagues across Canada) and extensive research of the Ted Grant Special Collections in Ottawa, this book is both an iconic and an intimate portrait of the second half of the twentieth century, Canada’s coming of age, and the man who saw it all through the lens of his camera.
A Pulitzer Prize-winning journalist takes us on a personal and historic journey from Mogadishu through Rwanda to Afghanistan and Iraq.
With the click of a shutter the world came to know Staff Sgt. William David Cleveland Jr. as a desecrated corpse. In the split-second that Paul Watson had to choose between pressing the shutter release or turning away, the world went quiet and Watson heard Cleveland whisper: ""If you do this, I will own you forever."" And he has.
Paul Watson was born a rebel with one hand, who grew up thinking it took two to fire an assault rifle, or play jazz piano. So he became a journalist. At first, he loved war. He fed his lust for the bang-bang, by spending vacations with guerilla fighters in Angola, Eritrea, Sudan, and Somalia, and writing about conflicts on the frontlines of the Cold War. Soon he graduated to assignments covering some of the world's most important conflicts, including South Africa, Rwanda, Afghanistan, and Iraq.
Watson reported on Osama bin Laden's first battlefield victory in Somalia. Unwittingly, Watson's Pulitzer Prize--winning photo of Staff Sgt. David Cleveland -- whose Black Hawk was shot down over the streets of Mogadishu -- helped hand bin Laden one of his earliest propaganda coups, one that proved barbarity is a powerful weapon in a modern media war. Public outrage over the pictures of Cleveland's corpse forced President Clinton to order the world's most powerful military into retreat. With each new beheading announced on the news, Watson wonders whether he helped teach the terrorists one of their most valuable lessons.
Much more than a journalist's memoir, Where War Lives connects the dots of the historic continuum from Mogadishu through Rwanda to Afghanistan and Iraq.
In 1988, fresh out of Harvard, Kogan moved to Paris with a small backpack, a couple of cameras, the hubris of a superhero, and a strong thirst for danger. She wanted to see what a war would look like when seen from up close, to immerse herself in a world where the gun is God. Naïvely, she figured it would be easy to filter death through the prism of her wide-angle lens.
She was dead wrong.
Within weeks of arriving in Paris, after knocking on countless photo agency doors and begging to be sent where the action was, Kogan found herself on the back of a truck in Afghanistan, her tiny frame veiled from head to toe, the only woman — and the only journalis — in a convoy of rebel freedom fighters. Kogan had not actually planned on shooting the Afghan war alone. However, the beguiling French photographer she'd entrusted with both her itinerary and her heart turned out to be as dangerously unpredictable as, well, a war.
It is the saga of both her relationship with this French-man and her assignment in Afghanistan that fuels the first of Shutterbabe's six page-turning chapters, each covering a different corner of the globe and each ultimately linked to the man Kogan was involved with at the time. From Zim-babwe to Romania, from Russia to Haiti, Kogan takes her readers on a heartbreaking yet surprisingly hilarious journey through a mine-strewn decade, her personal battles against sexism, battery, and even rape blending seamlessly with the historical struggles of war, revolution, and unfathomable abuse it was her job to record.
In the end, what was once adventurous to the girl began to weigh heavily on the woman. Though her photographs were often splashed across the front pages of international newspapers and magazines, though she was finally accepted into photojournalism's macho fraternity, with each new assignment, with each new affair, Kogan began to feel there was something more she was after. Ultimately, what she discovered in herself was a person -- a woman — for whom life, not death, is the one true adventure to be cherished above all.
This book is the story of how that photograph came to be-and the story of what happened to that girl after the camera shutter closed. Award-winning biographer Denise Chong's portrait of Kim Phuc-who eventually defected to Canada and is now a UNESCO spokesperson-is a rare look at the Vietnam War from the Vietnamese point-of-view and one of the only books to describe everyday life in the wake of this war and to probe its lingering effects on all its participants.
Century of Progress is a collection of rare photographs from the world's fair that has been carefully chosen from the Chicago Tribune's voluminous archives. Featuring an informative introduction by Tribune reporter and historian Ron Grossman, this book documents one of the most expansive displays of technological advancement and cultural diversity that took place in the 20th century. The lakefront exposition, on the present site of McCormick Place and Northerly Island, opened on May 27, 1933, and was reopened in 1934 at the urging of President Franklin D. Roosevelt who hoped it would stimulate the Depression-era economy.
This book is an engrossing and fascinating look at the numerous sides of the -A Century of Progress Exposition- the whimsical attractions, the architectural and scientific achievements, the palpable spirit of fun, and the occasionally unsavory exhibits of differing cultures. At a time when the entire U.S. population numbered just over 125 million people, the Chicago world's fair left an indelible mark on the collective consciousness of American culture, and Century of Progress captures that feeling as only a photograph can.
Success requires the street photographer to be proficient with their equipment, to be constantly aware of their surroundings, and to have a keen eye. Quick reflexes and self-confidence are essential: Street photographers know from experience that hesitation or procrastination could mean missing a once-in-a-lifetime shot. The adage "it's better to ask for forgiveness than permission" was probably coined by a street photographer.
In Street Photography: The Art of Capturing the Candid Moment, Gordon Lewis helps readers understand and conquer the challenging yet rewarding world of street photography. The book includes discussions of why photographers are drawn to street photography, the different styles of street photography, and what makes a great street photograph. Lewis then goes on to explore how the choice of location can change a photographer's approach to image capture: from city streets to fairs to beaches, Lewis discusses the impact different environments have on the process of street photography.
Another crucial element to becoming a good street photographer is learning to travel light, with minimal equipment. Lewis gives readers practical advice on everything from cameras and lenses to camera bags and clothing. Lewis also delves into the techniques and approaches that will help novices master the art of street photography.
Whether your style is to engage your subjects or to remain unnoticed and take candid portraits, Lewis offers ideas on how to capture fascinating moments in time: a gesture, expression, or composition that may exist for only a fraction of a second, but can leave a lasting impression of the wonders, challenges, and absurdities of modern life.
Cutshall, 22 and her fiancé Allen, 26 were shot to death as they slept in separate sleeping bags on an obscured stretch of Fish Head Beach. They settled upon their sleeping arrangements during a weekend getaway from work because all of the nearby town of Jenner’s accommodation properties were fully booked. Their bodies were not discovered until Wednesday, August 18, when a Sheriff's helicopter was dispatched following a report of a man who was stranded on a cliff above Fish Head Beach. The helicopter spotted the bodies and notified the department.
None of Cutshall's or Allen's belongings had been taken, ruling out robbery as a motive, and neither of the campers had been sexually assaulted. Their car, a battered red Ford Tempo was parked in a pullout spot on the side of Highway 1 in Jenner and untouched. A silent, single bullet to the skull had killed each. The evening overcast, common to northern Sonoma County, masked the moon and neither likely had any advanced warning that they were not alone.
Despite exhaustive efforts by detectives, the scant evidence, no apparent motive and minimal clues have yielded no solid leads or suspects. A decade later, the case remains cold but open. The principal beach landmarks and disturbingly potential clues described in police reports have changed little.
Sonoma County’s Russian River empties into the Pacific Ocean through a gulch severing Goat’s Rock Beach and Fish Head Beach adjacent to the town of Jenner, California situated on a winding stretch of the Pacific Coast Highway (California Highway 1). Like generations of precedent visitors Cutshall, 22, and Allen were moved by the splendor. Each recorded their impressions during the sunset of August 14, 2004 in a personal travel journal.
“The sun is going down in the horizon,” Lindsay wrote. “All I see is the beams shining on the cliff face. And I know that God is awsome (sic). I look around and I see his creation all around me.” Jason wrote: “As I stir this Mac & Cheese I think to myself what a wonderful life. I’ve just spent two awsome (sic) days with my fiancé Lindsay. Can life ever be so perfect. Only with a person who is so great. God gives me this privilege in life and He has given me a wonderful woman to enjoy it.”
It was the final entry recorded in their travel journal the day of their death.
Es preocupante saber que hay desperdicio de energía, de papel, de tecnología obsoleta, de talento, de tiempo, de vida, de agua, de alimentos. Esta es la última oportunidad.
DESPERDICIO / WASTE
Recopilación de imágenes capturadas sin ser manipuladas en computadora, sin usar efectos especiales.
Tomadas con iPhone en la Ciudad de México, y Los Ángeles.
Fotolibro digital de auto edición
“World is finishing. Waste not.”
Is worrying to know that there´s a lot of waste of energy, of paper, of obsolete technology, of talent, of time, of life, of water, of food. This the last chance.
Digital, color and not manipulated on computer and not using special effects. Photos taken with iPhone at Mexico City and Los Angeles.
The flood began in southern Alberta on June 20 and led to four deaths, billions of dollars in damage and more than 100,000 people fleeing their homes to escape raging waters. More than eighty Herald journalists—photographers, writers, editors, videographers, researchers and digital producers—became involved in narrating the tale of the flood. Using their words and images, this stunning volume captures not only the devastation and destruction of the flood but also the emergence of heroes and heartfelt moments. Neighbours helped neighbours. Strangers helped strangers. And Albertans vowed to recover, come hell or high water.
With this wealth of images and experiences, Mario Dirks has created a diversified snapshot of our earth. The images in this book show global sights like the Taj Mahal, Machu Picchu, Petra, the Grand Canyon, and Ayers Rock, as well as architectural masterpieces, unique natural landscapes, and portraits of people and animals.
Mario's photographs are accompanied by anecdotes from his travels, making this book a visual delicacy not only for traveling photographers, but for anyone interested in viewing captivating images from around the world. Come with the author on a journey to the Americas, Africa, Europe, Asia, and Australia; immerse yourself in the colorful and exciting variety of our world; and experience what great travel photography is made of.
In this photographic tour of two Texas Mennonite communities, separated by almost 450 miles, Laura L. Camden and Susan Gaetz Duarte introduce you to the Beachy Amish Mennonites of Lott, a small community of approximately 160 people in Central Texas, and the very different Mennonites of Seminole, a West Texas farming community of more than five thousand residents and five separate congregations, several of which still speak the Mennonite Low German.
Spending more than a year getting to know the families, participating in day-to-day activities, and photographing the unique culture of the communities, Camden and Gaetz Duarte developed deep insight into not just the religious beliefs but the family relationships, role expectations, and daily routines of these people. Through their camera lenses, they offer others a touchingly intimate view of a unique lifestyle seldom experienced by outsiders.
In a foreword, former governor Ann Richards identifies the book as part of both the long photographic tradition in Texas and the tradition of cultural and religious diversity in the state. Mark L. Louden’s introduction provides the historical backgrounds of Mennonites in Europe, their core beliefs, and their development into branches in North America. Dennis Carlyle Darling offers insightful comments on the photography that allows an intimate, respectful view of the people, their lifestyle, and their culture.
The Times' complete coverage of World War II is now available in a paperback edition of this unique book. Hundreds of the most riveting articles from the archives of the Times including firsthand accounts of major events and little-known anecdotes have been selected for inclusion in The New York Times: World War II. The book covers the biggest battles of the war, from the Battle of the Bulge to the Battle of Iwo Jima, as well as moving stories from the home front and profiles of noted leaders and heroes such as Winston Churchill and George Patton.
A respected World War II historian and writer, editor Richard Overy guides readers through the articles, putting the events into historical context.
Beautifully designed and illustrated with hundreds of maps and historical photographs, it's the perfect gift for any war, politics, or history buff.
Make It Memorable provides a distinctly different, hands-on introduction to the craft of visual storytelling. Many texts have been written to help people master the changing technology of journalism; here, Bob Dotson teaches readers how best to tell a story once they do.
This second edition of Dotson’s classic book offers dozens of new tips for the digital age and a step-by-step explanation of how to find and create all kinds of visual stories under tight deadlines. In addition to new scripts annotated with behind-the-scenes insights and structural comments, the book includes links to online videos of all the story examples.
There is no other text quite like it.
Additional videos that can be utilized for class assignments and exercises are available on www.nbclearn.com/makeitmemorable.
Comprised of weekly blog posts by author and Pulitzer Prize-winning photojournalist Alex Garcia that originally appeared on the Chicago Tribune website, Depth of Field is a comprehensive and useful handbook on how to become a better photographer. It is both a practical guide that has many applicable lessons and entertaining anecdotes, serving both amateurs just picking up a camera for the first time as well as seasoned photojournalists. Garcia discusses the demands of photojournalism and interviews his peers who are pursuing a variety of projects, lending the book a broad perspective on numerous fields.
The advice contained in Depth of Field discusses techniques, gadgets, and technology, as well as cliches to avoid. Throughout the book, Garcia displays his talents with pictures, portraits, and full-color examples of his best work. Depth of Field is perfect for anyone interested in the academic as well as practical elements of photojournalism, providing an in-depth portrait of the ethical, artistic, and journalistic concerns that go into this powerful storytelling medium.
In Witness, Gruber writes about what she saw and shows us, through her haunting and life-affirming photographs–taken on each of her assignments– the worlds, the people, the landscapes, the courage, the hope, the life she witnessed up close and firsthand: the Siberian gulag of the 1930s and the new cities being built there (Gruber, then untrained as a photographer, brought her first Rolleicord with her) . . . the Alaska highway of 1943, built by 11,000 soldiers, mostly black men from the South (the highway went from Dawson Creek, British Columbia, 1,500 miles to Fairbanks) . . . her thirteen-day voyage on the army-troop transport Henry Gibbins with refugees and wounded American soldiers, escorting and then photographing the refugees as they arrived in Oswego, New York (they arrived in upstate New York as Adolf Eichmann was sending 750,000 Jews from Hungary to Auschwitz).
In 1947, Gruber traveled for the Herald Tribune with the United Nations Special Commission on Palestine (UNSCOP) through the postwar displaced persons camps in Europe, and then to North Africa, Palestine, and the Arab world; the committee’s recommendation that Palestine be partitioned into a Jewish state and an Arab state was one of the key factors that led to the founding of Israel.
We see Gruber’s remarkable photographs of a former American pleasure boat (which had been renamed Exodus 1947) as it limped into Haifa harbor, trying to deliver 4,500 Jewish refugees (including 600 orphans), under attack by five British destroyers and a cruiser that stormed the Exodus with guns, tear gas, and truncheons, while the crew of the Exodus fought back with potatoes, sticks, and cans of kosher meat. In a cable to the Herald Tribune, Gruber reported that “the ship looks like a matchbox splintered by a nutcracker.” She was with the people of the Exodus and photographed them when they were herded onto three prison ships. Gruber represented the entire American press aboard the ship Runnymede Park, photographing the prisoners as they defiantly painted a swastika on the Union Jack.
During her thirty-two years as a correspondent, Ruth Gruber photographed what she saw and captured the triumph of the human spirit.
“Take photographs with your heart,” Edward Steichen told her.
Witness is a revelation–of a time, a place, a world, a spirit, a belief. It is, above all else, a book of heart.
In dramatic black-and white photography, Gray documents their struggles to balance the demands of family and work—from their tireless preparation in rehearsals and dazzling mastery of craft displayed on stage, to their time spent relaxing at home with family and even while giving birth. In extensive interviews the dancers and their husbands discuss their stories with great candor, providing remarkable insight into the life of a ballerina and the everyday challenges and joys of mothers everywhere.
The book’s wide-format black-and-white images depict the bedrooms of forty fallen soldiers—the equivalent of a single platoon—from the United States, Canada, and several European nations. Left intact by families of the deceased, the bedrooms are a heartbreaking reminder of lives cut short: we see high school diplomas and pictures from prom, sports medals and souvenirs, and markers of the idealism that carried them to war, like images of the Twin Towers and Osama Bin Laden. A moving essay by Gilbertson describes his encounters with the families who preserve these private memorials to their loved ones, and shares what he has learned from them about war and loss.
Bedrooms of the Fallen is a masterpiece of documentary photography, and an unforgettable reckoning with the human cost of war.
The author, a former Technologist from Amazon.com writing under a pen name, gives us a vivid, sometime brutal inside scoop on Amazon.com's giant machinery, describing its cold and calculating culture in detail.
The story begins in Silicon Valley where we go through author's experiences in the fast moving world of a Hi-Tech start up. Soon thereafter, the author's start-up is acquired and he finds himself looking for a job.
He finds one in Seattle, a medley of lush green hills surrounded by snow capped mountains and sparking blue waters. Amazon.com--an Internet company based in Seattle which has taken the stock markets by storm, and has been transforming itself from an online retailer to an eCommerce platform, led by a CEO who is not afraid to act goofy.
It begins as a story of a technologist leaving behind his beloved Silicon Valley for Seattle. It unfolds into a moving story capturing Seattle's beauty, its interesting people and culture; and the inside scoop on the dot-com world - both the excitement and joy of innovation, and also the dark side of a culture driven by metrics, including "Cruelty curve", a quota for letting go of a certain number of people every year, a gene pool improving methodology by putting the weakest 10% on a chopping block.
Miguel Gandert’s compelling black-and-white images document the hotel and the vibrant mariachi community of the “Garibaldi Plaza of Los Angeles.” The history of Hotel Mariachi is personal to Catherine López Kurland, a descendant of the entrepreneur who built it, and whose family’s Californio roots will fascinate anyone interested in early Los Angeles or Mexican American history. Enrique Lamadrid explores mariachi music, poetry, and fiestas, and the part Los Angeles played in their development, delving into the origins of the music and offering a deep account of mariachi poetics. Hotel Mariachi is a unique lens through which to view the history and culture of Mexicano California, and provides touching insights into the challenging lives of mariachi musicians.
Soule and his unit produced films and photos of training, combat action pictures, and later, terrain studies and photographs for intelligence purposes. Though he had never heard of a photo-litho set, he was in charge of using it for map production, which would prove vital to the division. Shooting the Pacific War is based on Soule's detailed wartime journals. Soule was in the unique position to interact with men at all levels of the military, and he provides intriguing closeups of generals, admirals, sergeants, and privates -everyone he met and worked with along the way. Though he witnessed the horror of war firsthand, he also writes of the vitality and intense comradeship that he and his fellow Marines experienced.
Soule recounts the heat of battle as well as the intense training before and rebuilding after each campaign. He saw New Zealand in the desperate days of 1942. His division was rebuilt in Australia following Guadalcanal. After a stint back in Quantico training more combat photographers, he went to Guam and then to the crucible of Iwo Jima. At war's end he was serving as Photographic Officer, Fleet Marine Force Pacific, at Pearl Harbor.
The essays describe a wide array of photographs and present an eclectic approach to the assignment, organized by topic: Leaders, Soldiers, Civilians, Victims, and Places. Readers will rediscover familiar photographs and figures examined in unfamiliar ways, as well as discover little-known photographs that afford intriguing perspectives. All the images are reproduced with exquisite care. Readers fascinated by the Civil War will want this unique book on their shelves, and lovers of photography will value the images and the creative, evocative reflections offered in these essays.
Contributors: Stephen Berry, William A. Blair, Stephen Cushman, Gary W. Gallagher, J. Matthew Gallman, Judith A. Giesberg, Joseph T. Glatthaar, Thavolia Glymph, Earl J. Hess, Harold Holzer, Caroline E. Janney, James Marten, Kathryn Shively Meier, Megan Kate Nelson, Susan Eva O'Donovan, T. Michael Parrish, Ethan S. Rafuse, Carol Reardon, James I. Robertson Jr., Jane E. Schultz, Aaron Sheehan-Dean, Brooks D. Simpson, Daniel E. Sutherland, Emory M. Thomas, Elizabeth R. Varon, Joan Waugh, Steven E. Woodworth.
Gangsters and Grifters is a powerful, visually stunning look back into the dark story of Chicago's nefarious crime underworld. These fascinating, surprising, and entrancing photos reveal still-unsolved murder mysteries and portraits of notorious gang overlords like John Dillinger and Al Capone. This is a must-have for photography buffs, history lovers, and anyone curious about the seedy underbelly of early 20th-century Chicago.
Over the past forty years he has covered wars and disasters all over the world. He filmed the fall of Saigon. He was in Moscow during the collapse of communism. He has covered countless other conflicts and natural disasters in Asia, Africa and North and South America.
He has been single-mindedly dedicated to the pursuit of his craft: to get the story, get the film - always to preserve and present the human dimension, no matter how large or mindless the conflict or event.
David Brill has paid a high price for this uncompromising style. He has two failed marriages, and at times has been overcome by demons such as alcohol. This biography is also a great adventure story, a journey through war zones and various hell holes of the world. And it is an inside look at what makes some people follow a profession where their life is on the line - as a standard feature of their day.
For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism's heyday and the rise of broadcast news and newsreels in the twentieth century and into today's digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.
Each photograph is accompanied by commentary on the design process of the image, Essick's personal photographic experiences, and informative highlights from the research he completed for each story. Our Beautiful, Fragile World takes the reader on a journey around the globe, from the Oulanka National Park near the Arctic Circle in Finland to the Adelie penguin breeding grounds in Antarctica.
Our Beautiful, Fragile World will interest photographers of all skill levels. It carries an important message about conservation, and the photographs provide a compelling look at our environment that will resonate with people of all ages who care about the state of the natural world.
Foreword by Jean-Michel Cousteau.