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More than 100 powerful images by noted photographer Russell Lee that document the working conditions and lives of coal mining communities in the postwar United States; publication coincides with an exhibition at the National Archives in Washington, DC.

In 1946 the Truman administration made a promise to striking coal miners: as part of a deal to resume work, the government would sponsor a nationwide survey of health and labor conditions in mining camps. One instrumental member of the survey team was photographer Russell Lee. Lee had made his name during the Depression, when, alongside Dorothea Lange and Walker Evans, he used his camera to document agrarian life for the Farm Security Administration (FSA). Now he trained his lens on miners and their families to show their difficult circumstances despite their essential contributions to the nation's first wave of postwar growth.

American Coal draws from the thousands of photographs that Lee made for the survey—also on view in the US National Archives and Records Administration’s exhibition Power & Light—and includes his original, detailed captions as well as an essay by biographer Mary Jane Appel and historian Douglas Brinkley. They place his work in context and illuminate how Lee helped win improved conditions for his subjects through vivid images that captured an array of miners and their communities at work and at play, at church and in school, in moments of joy and struggle, ultimately revealing to their fellow Americans the humanity and resilience of these underrecognized workers.

An engrossing memoir in which a photojournalist records both the precursors to today’s conflicts in the Middle East and her own deeply felt conviction that news coverage of the region actually increases the conflicts there.

"You're going where?" Carol Spencer Mitchell's father demanded as she set off in 1984 to cover the Middle East as a photojournalist for Newsweek and other publications. In this intensely thoughtful memoir, Spencer Mitchell probes the motivations that impelled her—a single Jewish woman—to document the turmoil roiling the Arab world in the 1980s and 1990s, as well as how her experiences as a photojournalist compelled her to set aside her cameras and reexamine the way images are created, scenes are framed, and "real life" is packaged for specific news stories.

In Danger Pay, Spencer Mitchell takes us on a harrowing journey to PLO military training camps for Palestinian children and to refugee camps in the Gaza Strip before, during, and after the first intifada. Through her eyes, we experience the media frenzy surrounding the 1985 hijackings of TWA Flight #847 and the Italian cruise liner Achille Lauro. We meet Middle Eastern leaders, in particular Yasser Arafat and King Hussein of Jordan, with whom Spencer Mitchell developed close working relationships. And we witness Spencer Mitchell's growing conviction that the Western media's portrayal of conflicts in the Middle East actually helps to fuel those conflicts—a conviction that eventually, as she says, "shattered [her] career."

Although the events that Spencer Mitchell records took place decades ago, their repercussions reverberate in the MIddle Eastern conflicts of today. Likewise, her concern about "the triumph of image over reality" takes on greater urgency as our knowledge of the world becomes ever more filtered by virtual media.

Striking photographs and stories from more than two decades on the frontlines by a groundbreaking photojournalist—and the first female American war correspondent to be killed in action.

In 1941, twenty-two-year-old Georgette "Dickey" Chapelle sold her first photo essay to Look magazine. A year later, with World War II underway, she was photographing American soldiers in combat training in Panama. By the end of the war, she had captured the devastation at Iwo Jima and Okinawa, and in the ensuing decades, Dickey and her camera were on the scene at many of the world’s hotspots—from Cuba and the Dominican Republic to Algeria and Lebanon to Vietnam and Laos. Dickey Chapelle Under Fire exposes her remarkable story and shares over 150 stunning images from her extraordinary career as a photojournalist.

In the male-dominated world of war journalism, Chapelle fought to be taken seriously. She eventually earned the respect of many of her male colleagues and broke down barriers for future generations of female journalists. She embedded herself with military units on frontlines around the globe, capturing not only the horrors of war but also the camaraderie and everyday routines of service men and women.

Always one to follow the action, Chapelle traveled with Algerian rebels across the North African desert and with Fidel Castro through the jungles of Cuba. She spent two months in a Hungarian prison after being caught smuggling aid to refugees fleeing a Soviet invasion. Beginning in 1961, Chapelle set her lens and viewfinder on Southeast Asia, capturing the growing conflict there, until she was killed while on patrol with marines in Vietnam in April 1965—making her the first female American war correspondent to be killed in action.

For twenty-five years, Chapelle's photographs graced the pages of National Geographic, the National Observer, Life, and other major publications. Despite her tragic end, Chapelle’s tenacity, courage, and compassion shine throughout her work, highlighting the human impact of war while revealing the larger stories beyond the battlefield. Her legacy lives on through this powerful collection. 

Award-winning photojournalist Melvin Grier discusses the influences and circumstances that led him to tell stories through the camera.

Over the last six decades, Melvin Grier’s work has vividly portrayed community, humanity, irony, fear, war, elegance, art, and, most notably, the unexpected. It Was Always About the Work includes nearly one hundred black-and-white and color photographs, including photographs from Grier’s most famous exhibitions and news stories. Whether covering local events, Cincinnati life, impoverished villages overseas, young future Marines on their way to their first post, or high fashion, Grier's photos are unmistakable and evocative.

Starting with his early years as a boy growing up in Cincinnati, this book tells the story of a young man who won his first photo contest while in the Air Force. He came home determined to make a career as a photographer, and, despite his lack of formal training and experience, he secured a job as a photographer for the Cincinnati Post. After the closure of the Cincinnati Post in 2007, Grier continued his career as an independent artist, featuring work in exhibitions such as “White People: A Retrospective” and “Clothes Encounters.” In collaboration with one of his journalist partners, reporter Molly Kavanaugh, Grier shares why it was always about the work.
 

Exposing the politics of seeing: how documentary photographs confront inequality and reshape public understanding.

In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present in order to illuminate the political dimensions and consequences of photographs taken and selected to highlight social injustice. Documentary photography aims to capture the material reality of life. Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.

Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heartrending photos of Manhattan’s poor in late nineteenth-century New York, Walker Evans’s iconic images of tenant farmers in west Alabama, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.

While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.

As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.